THE 

UNIVERSITY 

MUSEUM 


CATALOGUE 
OF  THE 

MEDITERRANEAN 

SECTION 


PHILADELPHIA 

1921 


THE 

UNIVERSITY 

MUSEUM 


CATALOGUE 
OF  THE 

MEDITERRANEAN 

SECTION 


PHILADELPHIA 

1921 


Digitized  by  the  Internet  Archive 
in  2015 


https://archive.org/details/catalogueofmeditOOuniv 


CONTENTS 

PAGE 

List  of  Abbreviations 3 

Introduction 5 

Contents  of  the  East  Room 11 

Objects  from  Prehistoric  Crete 13 

Pottery  of  the  Minoan  Periods 16 

Potsherds  from  Crete,  of  Various  Periods 25 

Stone  Vases  from  Crete 27 

Miscellaneous  Objects  from  Crete 31 

Objects  of  the  Minoan  Period  not  on  Exhibition...  36 

Antiquities  from  Cyprus 39 

Cypriote  Sculpture  and  Pottery 39 

Cypriote  Terracottas  and  Bronze  Objects 43 

Greek  Vases 50 

Geometric  and  Corinthian  Vases 50 

Proto-Corinthian  and  Corinthian  Vases 52 

Corinthian  and  Italo-Corinthian  Vases 54 

Greek  Vases  from  Chalcis,  Ionia,  and  Attica 59 

Fragments  of  Greek  and  Roman  Pottery 63 

Attic  Blackfigured  Vases,  VI  Century  B.  C 66 

Attic  Blackfigured  and  Redfigured  Vases,  and 

Vases  from  Southern  Italy 76 

Blackfigured  and  Redfigured  Kylikes 88 

Blackfigured  and  Redfigured  Panel  Amphor.e 95 

Greek  Vases  in  West  Room 99 

Greek  Vases  not  on  Exhibition 99 

Pre-Hellenic  and  Local  Apulian  Vases 102 

Lamps  of  Various  Periods,  Principally  Roman 104 

Roman  Lamps  not  on  Exhibition 109 

Miscellaneous  Greek,  Etruscan,  and  Roman  Objects.  ...  112 

Italic  Antiquities — Principally  Etruscan 114 

Etruscan  Bucchero  Ware 114 

Primitive  Italic  Pottery,  Mostly  Pre-Etruscan 118 

Primitive  Italic  Bronze  Objects  and  Jewelry 122 


3 


CONTENTS 


PAGE 


Primitive  Italic  Bronze  Armor  and  Utensils 125 

Primitive  Italic  and  Etruscan  Bronze  Objects  and 

J ewelry 126 

Italic  and  Early  Etruscan  Pottery,  VII-VI  Cen- 
turies B.  C 128 

Etruscan  and  Italic  Vases  from  Various  Sites 131 

Etruscan  and  Italic  Bronze  Objects  and  Ornaments  135 
Etruscan  and  Roman  Bronze  Vases  and  Statuettes  137 

Etruscan  and  Italic  Objects  of  Minor  Art 140 

Early  Etruscan  and  Italic  Pottery 143 

Etruscan  Bronze  Mirrors,  and  Other  Ornaments  ...  147 

Etruscan  Sepulchral  Furniture,  and  Other  Bronze 

Objects 150 

Bronze  and  Ivory  Utensils  from  Etruria 151 

Archaic  Etruscan  Vases  and  Vase  Supports,  Chiefly 

from  Naice 153 

An  Etruscan  Sarcophagus 154 

Etruscan  Architectural  Terracotta  Ornaments 155 

Greek  and  Italic  Terracotta  Figurines 162 

Contents  of  the  West  Room 167 

Greek  and  Roman  Sculpture 169 

Roman  Mosaics 182 

Greek,  Etruscan  and  Roman  Sculpture,  at  Present  not 

on  Exhibition 185 


Reproductions  of  Frescoes 194 

Reproduction  of  Creton  and  Mycenean  Metal  Work.  . . . 197 
Reproductions  of  Swords  and  Daggers  from  Mycenae 

AND  OTHER  SlTES 197 

Reproductions  of  Metal  Work,  Principally  from 
Mycenae 199 

Reproductions  of  Creton  Antiquities 203 


Objects  of  Terracotta  and  Bronze 206 

Greek,  Etruscan,  and  Roman  Jewelry  and  Gems 208 

Roman  Necklaces  from  Palestine 212 

Ancient  Bronze  Helmets 213 

Etruscan  Bronze  Vases  and  Utensils 214 


The  John  Thompson  Morris  Collection  of  Ancient  Glass  217 


4 


LIST  OF  ABBREVIATIONS  USED  IN  THIS  CATALOGUE. 


A.J.A.:  American  Journal  of  Archaeology,  1886-96  (1st  series),  1897- 
(2d  series). 

C.I.L.:  Corpus  Inscriptionum  Latinarum. 

Dussaud,  Civilizations  Prehell eniques:  Rene  Dussaud:  Les  Civili- 
zations Prehelleniques  dans  le  Bassin  de  la  Mer  Egee. 
2d  edition.  Paris,  1914. 

J.H.S.:  Journal  of  Hellenic  Studies.  London,  1880-. 

Klein,  Meistersignaturen ; W.  Klein,  Die  griechischen  Vasen  mit 
Meistersignaturen.  2d  edition.  Vienna,  1887. 

Sitzungsberichte  der  Akademie  zu  Munchen;  Sitzungsberichte  der 
philosophisch-philologischen,  und  der  historischen  Klasse 
der  K.  B.  Akademie  der  Wissenschaften  zu  Munchen. 
Munich,  annually. 


INTRODUCTION 


This  catalogue  aims  to  give  information  to  students  not  only  in 
Philadelphia,  but  especially  to  those  who  are  unable  to  see  the  col- 
lections, as  to  what  objects  of  Classical  Art  are  to  be  found  in  the 
University  Museum.  The  arrangement  of  the  Catalogue  is  to  take 
the  objects  of  each  kind  separately,  and  catalogue  them.  In  this, 
their  arrangement  in  the  Section  has  been  adhered  to,  so  that  a 
student  may  find  in  this  catalogue  a practical  gallery  handbook  as 
well,  in  which  he  will  find  all  the  objects  in  any  given  case  described 
together.  For  a brief  account  of  the  Section  see  the  Museum  Journal 
for  June,  1920  (Vol.  XI,  No.  2). 

The  collections  of  the  Mediterranean  Section  are  to  be  found  on 
the  second  floor  of  the  Museum,  in  the  rooms  directly  to  the  left 
and  right  of  the  main  staircase.  These  will  be  spoken  of  as  the 
East  and  West  Rooms  respectively. 

In  the  East  Room  are  to  be  found  the  collections  from  Crete,  the 
results  of  four  expeditions  sent  out  by  the  Museum  to  explore  and 
unearth  the  ancient  Minoan  civilization,  the  discovery  of  which  is 
the  principal  event  in  Classical  archaeology  in  the  twentieth  cen- 
tury. In  the  work  done  for  the  Museum  at  Gournia,  Vasiliki, 
and  other  sites,  the  Museum  has  helped  to  enlarge  this  discovery 
and  at  the  same  time  it  has  enriched  its  collections  in  Minoan 
archaeology. 

In  this  room  will  also  be  found  the  large  and  important  Etrus- 
can collection.  The  objects  in  this  collection  were  acquired  as  the 
result  of  excavations  in  Etruria,  particularly  at  Narce  and  Vulci, 
conducted  in  behalf  of  the  Museum.  The  tomb  groups  exhibited 
here  are  extremely  instructive  to  the  student  of  Etruscan  antiquities. 

The  exhibits  in  this  room  include  also  the  collection  of  Greek 
vases,  containing  examples  of  nearly  all  the  important  techniques, 
and  some  unique  specimens;  a small  collection  of  antiquities  from 
Cyprus,  which  gives  a good  idea  of  the  peculiar  art  and  culture  of 
that  out  of  the  way  island ; a good  collection  of  Roman  lamps ; and 
some  terracotta  figurines.  In  the  center  of  the  room,  three  Attic 
grave  stelae  are  displayed,  of  which  the  example  facing  the  entrance 
is  of  especial  excellence. 


7 


THE  UNIVERSITY  MUSEUM 


The  West  Room  contains  the  rest  of  the  collection  of  Greek 
and  Roman  sculpture.  This  includes  several  fine  pieces,  showing 
particularly  the  skill  of  the  Romans  in  portraiture.  Next  in  impor- 
tance is  the  large  collection  of  Roman  glass,  most  of  which  was  found 
in  the  Holy  Land.  Here  also  are  included  a small  collection  of 
necklaces  of  glass  beads,  and  beads  of  semiprecious  stones.  Further 
on  is  a small  case  full  of  Greek,  Etruscan  and  Roman  gold  objects 
and  jewelry.  Other  things  to  be  seen  here  are  the  large  collection 
of  reproductions  of  fresco  paintings,  gold  cups,  swords,  and  vases 
of  Minoan  and  Mycenaean  times,  and  cases  of  terracotta  figurines, 
bronze  helmets,  and  miscellaneous  bronze  articles. 

The  John  Thompson  Morris  Collection  of  Coins  and  Medals, 
which  is  also  in  this  room,  will  not  be  catalogued  here,  as  it  is  of  a 
size  and  importance  meriting  a separate  publication. 

As  is  usual  in  all  museums,  numbers  of  objects  have  had  to  be 
withdrawn  from  exhibition,  which  by  rights  deserve  description.  In 
all  cases  the  most  important  of  these  objects  have  been  described 
under  the  headings  in  which  they  belong.  The  John  Wanamaker 
collection  of  reproductions  from  Herculaneum  and  Pompeii,  most 
of  which  has  been  retired  from  exhibition  to  make  room  for  originals, 
will  not  be  described  here,  but  it  is  hoped  that  a catalogue  of  this 
collection  will  be  made  for  the  use  of  students. 

Most  of  the  collections  that  were  not  acquired  by  expeditions 
in  the  field  have  been  obtained  either  by  purchase  or  by  gift.  The 
purchases  have  in  each  case  been  made  through  money  subscribed 
by  friends  of  the  Museum;  while  the  money  to  support  the  expedi- 
tions to  Crete  and  Italy  was  raised  in  the  same  way. 

Especial  mention  should  be  made  of  the  following  persons, 
who,  by  their  generosity,  have  enriched  the  collections:  Mrs.  Lucy 
Wharton  Drexel,  who,  during  her  lifetime,  presented  the  Museum 
with  the  bulk  of  its  examples  of  Greek  and  Roman  Sculpture;  Miss 
Lydia  T.  Morris,  who  donated  to  the  Museum  the  John  Thompson 
Morris  Collection  of  Coins  and  Medals,  and  of  Roman  Glass;  Mr. 
John  Wanamaker,  through  whose  interest  the  Museum  obtained 
the  reproductions  of  objects  from  Pompeii  and  Herculaneum,  and 
a large  number  of  the  Greek  vases  and  Greek,  Etruscan,  and  Roman 
jewelry;  Mrs.  Phoebe  A.  Hearst,  who,  with  Mr.  Wanamaker,  financed 
the  expedition  that  procured  the  Etruscan  collections,  and  who  gave 
the  bulk  of  the  collection  of  jewelry;  Mrs.  Dillwyn  Parrish,  who 
presented  the  collection  of  Roman  mosaics,  and  a collection  of 


8 


MEDITERRANEAN  SECTION 


Greek  and  Roman  pottery;  and  Mr.  and  Mrs.  Samuel  F.  Houston, 
Mr.  Calvin  Wells,  and  Mr.  Charles  H.  Cramp,  who  subscribed  to 
the  Cretan  expeditions.  The  reproductions  of  Cretan  and  Mycenaean 
antiquities  have  for  the  most  part  been  acquired  through  the  Lucy 
Wharton  Drexel  Fund  for  Casts,  though  some  of  the  copies  of  the 
cups  and  gold  objects  from  Mycenae  were  given  by  Mr.  C.  Hartman 
Kuhn.  Since  these  pages  went  to  press  the  fine  Cypriote  head  has 
been  received  frcm  Mr.  John  Cadwalader.  To  Mrs.  Charles  Platt, 
Mrs.  William  Pepper,  Dr.  Charles  C.  Harrison,  Mrs.  E.  W.  Lehman, 
Mrs.  John  Harrison,  and  other  generous  patrons  the  Museum  is 
indebted  for  everything  included  in  this  catalogue,  and  the  thanks 
of  the  Museum  are  due  to  them  all. 

The  writer  owes  a personal  debt  to  the  following  friends  and 
colleagues,  who  have  given  him  much  advice  and  assistance  in  the 
preparation  of  this  catalogue:  to  Dr.  G.  B.  Cordon,  the  Director  of 
the  Museum,  and  to  the  other  members  of  the  staff;  to  his  colleagues 
at  the  University  of  Pennsylvania,  Professors  J.  C.  Rolfe,  Walton 
Brooks  McDaniel,  W.  N.  Bates,  H.  Lamar  Crosby,  and  W.  W.  Hyde; 
and  especially  to  Mr.  Leicester  Bodine  Holland,  formerly  of  the 
University  of  Pennsylvania,  and  now  of  the  American  School  of 
Classical  Studies  at  Athens,  with  whom  he  studied  the  Etruscan 
architectural  terracottas.  He  cannot  let  this  catalogue  go  out  of 
his  hands  without  testifying  to  his  eternal  debt  to  his  teacher 
and  dear  friend,  Professor  George  H.  Chase  of  Harvard  University, 
who  has  never  refused  him  advice  and  counsel,  when  such  help  was 
most  needed.  Others  to  whom  he  wishes  at  this  time  to  extend  his 
most  hearty  thanks  are  Dr.  Arthur  Fairbanks  and  Dr.  Lacey  D. 
Caskey  of  the  Museum  of  Fine  Arts  in  Boston;  Miss  Gisela  M.  A. 
Richter  of  the  Metropolitan  Museum  in  New  York;  Professor 
David  M.  Robinson  of  the  Johns  Hopkins  LTniversity  in  Baltimore; 
Dr.  Joseph  Clark  Hoppin;  Miss  Mary  Hamilton  Swindler  of  Bryn 
Mawr  College;  Mr.  and  Mrs.  A.  W.  Van  Buren  of  the  American 
Academy  in  Rome;  and  Dr.  C.  W.  Blegen  of  the  American  School 
of  Classical  Studies  at  Athens,  who  discussed  the  Minoan  pottery 
with  him  during  his  last  visit  to  America.  But  the  two  to  whom  he 
owes  the  most  are  his  predecessor,  Mrs.  Joseph  M.  Dohan  (Miss 
Edith  Hall),  collaborator  in  the  campaigns  at  Gournia,  and  the 
successful  excavator  of  Viokastro  in  Crete,  from  whom  he  has  never 
failed  to  get  valuable  help  and  counsel,  and  Miss  Eleanor  F.  Rambo 
of  the  American  School  of  Classical  Studies  at  Athens,  who,  during 


THE  UNIVERSITY  MUSEUM 


the  writer’s  service  in  the  United  States  Navy  during  the  late  war, 
took  his  place  at  the  Museum  and  at  that  time  accomplished  much 
that  has  made  it  possible  to  produce  this  book.  To  these  and  to 
other  friends,  who  have  helped  him,  he  sends  thanks  and  greetings. 

Stephen  Bleecker  Luce. 

Assistant  Curator, 

Mediterranean  Section, 

University  Museum,  Philadelphia. 

July,  I Q20 . 


10 


CONTENTS  OF  THE  EAST  ROOM. 


Objects  From  Prehistoric  Crete  ..  Cases  I-IV. 
Antiquities  From  Cyprus Cases  V and  VII. 


Greek  Vases: 

Geometric 

Corinthian 

Chalcidian 

Ionian 

Italo-Ionian 

Attic  blackfigured . . 

Attic  redfigured.  . . 

White  ground  vases 
South  Italian 


Case  X,  and  in  West  Room. 
Cases  VI,  X,  and  XI. 

Cases  VIII  and  XIII. 

Case  VIII. 

Case  XIII. 

Cases  VIII,  IX,  XII,  XIII, 
XV,  and  XXXV. 

Cases  VIII,  IX,  XIII,  XV, 
and  XXXV. 

Case  XIII. 

Case  XIII. 


Roman  Lamps 


Case  XIV. 


Etruscan  Antiquities: 

Pottery Cases  XVII,  XVIII,  XXII. 

XXIII,  XXIX,  and  XXXVI. 

Bronze  objects Cases  XIX-XXI,  XXIV- 

XXVI,  XXXI-XXXIII. 

Architectural  terracottas Cases  XVI,  XXX,  and 

XXXIV. 

Greek  and  South  Italian  Terra- 
cotta Figurines Cases  XXVII  and  XXVIII. 

Attic  Grave  Stel.e In  center  of  room. 


OBJECTS  FROM  PREHISTORIC  CRETE 


Cases  I-IV. 

One  of  the  most  romantic  events  in  the  history  of  scientific 
achievement  is  the  discovery  by  British,  Italian,  and  American 
archaeologists  of  the  civilization  of  the  Minoan  periods  in  Crete. 
Scholars  were  prepared  to  find  in  Crete  objects  similar  to  those  found 
by  Schliemann  at  Mycenae;  they  were  not,  however,  prepared  for 
the  discovery  that  was  forced  upon  them  by  the  results  of  the  exca- 
vations— that  Crete  possessed  a civilization  greatly  superior  to 
that  of  Mycenae,  and  from  which  Mycenae  drew  its  inspiration. 

In  the  West  Room  are  reproductions  of  frescoes  and  famous 
vases  and  objects  of  stone,  terracotta,  and  faience  from  Minoan 
sites,  and  of  gold  objects  from  the  mainland  of  Greece.  But,  after 
all,  these  are  merely  reproductions;  the  four  cases  now  to  be  examined 
contain  original  objects  found  on  Cretan  sites. 

The  University  Museum  has  been  one  of  the  pioneers  in  the 
exploration  of  Crete,  by  its  expeditions  to  Gournia,  Vasiliki,  and 
Vrokastro,  sites  on  the  eastern  end  of  the  island,  and  to  the  island 
of  Pseira,  off  the  east  coast,  and  has  drawn  most  of  its  collection 
from  the  excavation  of  these  sites. 

The  results  of  these  campaigns  have  been  published  or  sum- 
marized in  the  following  places. 

Gournia,  Vasiliki,  and  other  Prehistoric  Sites  cn  the  Isthmus  of 
Hierapetra,  Crete.  Excavations  of  the  Wells-Houstcn-Cramp 
Expeditions,  1901,  1903,  1904.  By  Harriet  Boyd  Hawes, 
Blanche  E.  Williams,  Richard  B.  Seager,  Edith  H.  Hall,  Phila- 
delphia, 1908. 

Excavations  on  the  Island  of  Pseira,  Crete.  By  Richard  B.  Seager. 
Philadelphia,  University  Museum,  1910.  (University  Museum, 
Anthropological  Publications,  Vol.  Ill,  No.  1.) 

Excavations  in  Eastern  Crete:  Sphoungaras.  By  Edith  H.  Hall. 
Philadelphia,  University  Museum,  1912.  (University  Museum 
Anthropological  Publications,  Vol.  Ill,  No.  2.) 

Excavations  in  Eastern  Crete:  Vrokastro.  By  Edith  H.  Hall. 

Philadelphia,  University  Museum,  1914.  (University  Museum 
Anthropological  Publications,  Vol.  Ill,  No.  3.) 


13 


THE  UNIVERSITY  MUSEUM 


The  Cemetery  of  Pachyammos,  Crete.  By  Richard  B.  Seager. 
Philadelphia,  University  Museum,  1916.  (University  Museum 
Anthropological  Publications,  Vol.  VII,  No.  1.) 

The  following  periodicals  also  contain  important  articles  on 
these  campaigns. 

In  the  Transactions  of  the  Department  of  Archaeology,  Uni- 
versity of  Pennsylvania.  (The  University  Museum.) 

Vol.  I,  Parts  I and  II,  1904.  Gournia,  by  Harriet  A.  Boyd.  Pp.  1-44. 
Vol.  I,  Part  III,  1905.  Gournia,  by  Harriet  A.  Boyd.  Pp.  177-191. 

Early  Painted  Pottery  from  Gournia,  by 
Edith  H.  Hall.  Pp.  191-205. 

Excavations  at  Vasiliki,  1904,  by  Richard  B. 
Seager.  Pp.  207-220. 

Vol.  II,  Part  I,  1906.  The  Decorative  Art  of  Crete  in  the  Bronze 

Age,  by  Edith  H.  Hall.  Pp.  5-49. 

Vol.  II,  Part  II,  1907.  Excavations  at  Vasiliki,  1906,  by  Richard  B. 

Seager.  Pp.  111-132. 


In  the  Museum  Journal 

Vol.  I,  1910,  pp.  7 and  39. 

Vol.  Ill,  1912,  pp.  39-44.  (By  E.  H.  Hall.) 

Vol.  V,  1914,  p.  47. 

Vol.  VIII,  1917,  p.  86. 

In  the  American  Journal  of  Archaeology. 

Vol.  V,  1901,  pp.  14-15,  125-157,  and  Pis.  I-V.  (By  Harriet  A. 
Boyd.) 

Vol.  VI,  1902,  pp.  48,  71. 

Vol.  VIII,  1904,  p.  359. 

Vol.  IX,  1905,  pp.  77,  110,  352-353,  471. 

Vol.  X,  1906,  p.  344. 

Vol.  XI,  1907,  pp.  219,  349. 

Vol.  XIII,  1909,  p.  78. 

Vol.  XV,  1911,  pp.  73-74,  89,  91-92. 

Vol.  XVI,  1912,  p.  571. 

Vol.  XVII,  1913,  pp.  91-92,  550. 

Vol.  XVIII,  1914,  p.  525. 

Vol.  XXI,  1917,  pp.  458-459. 


14 


MEDITERRANEAN  SECTION 


In  Art  and  Archaeology. 

Vol.  I,  1914,  pp.  33-36.  (By  Edith  H.  Hall.) 

The  following  books  should  also  be  consulted,  for  information 
relative  to  these  campaigns,  and  for  expeditions,  not  under  the 
auspices  of  the  Museum,  from  which  objects  have  found  their  way 
into  its  collections,  either  through  purchase  or  exchange. 

Books  on  Crete,  and  its  archaeology. 

C.  H.  & H.  B.  Hawes;  Crete,  the  Forerunner  of  Greece.  This  is 
the  best  small  book  on  Minoan  archaeology.  Chapter  VI  is 
devoted  to  Gournia,  and  Chapter  VII  describes  Vasiliki,  Pseira, 
and  Vrokastro.  2d  edition,  1911. 

James  Baikie;  The  Sea  Kings  of  Crete.  Popular  treatise,  copiously 
illustrated.  For  Gournia,  see  especially  pp.  129-132.  1910. 

Angelo  Mosso;  The  Palaces  of  Crete  and  their  Builders.  Deals 
principally  with  the  Italian  excavations,  but  see  pp.  252-253, 
and  265.  1907. 

Angelo  Mosso;  The  Dawn  of  the  Mediterranean  Civilization.  Deals 
principally  with  the  Italian  excavations,  but  see  pp.  113,  141, 
289,  292,  316.  1910. 

R.  M.  Burrows;  The  Discoveries  in  Crete,  and  their  Bearing  on 
the  History  of  Ancient  Civilization.  See  especially  pp.  24,  26- 
27,  49,  57,  106,  111,  113,  138,  152,  181.  2d  edition,  1908. 

Rene  Dussaud;  Les  Civilisations  Prehelleniques  dans  le  Bassin  de 
la  Mer  Egee.  2d  edition,  1914.  See  chapters  I,  VII  and  VIII, 
passim. 

Donald  A.  Mackenzie;  Myths  of  Crete  and  Prehellenic  Europe. 

Passim,  especially  pp.  254-267.  1917. 

H.R.  Hall;  ^Egean  Archaeology.  This  is  the  leading  book  in 
English  on  this  field.  References  to  the  expeditions  of  the 
Museum  will  be  found  all  through  the  book.  1918. 

G.  Maraghiannis;  Antiquites  Cretoises.  Vol.  I,  Pis.  XXXVI- 
XXXIX;  Vol.  II,  Pis.  XIV-XXXIII.  1907  and  later.  Text 
by  L.  Pernier  and  G.  Karo. 

Books  and  articles  on  other  expeditions,  objects  from  which 
will  be  found  in  the  collection. 

Richard  B.  Seager;  Explorations  in  the  Island  of  Mochlos.  Pub- 
lished by  the  American  School  of  Classical  Studies  at  Athens, 

1912. 


THE  UNIVERSITY  MUSEUM 


In  the  American  Journal  of  Archaeology. 

Vol.  XIII,  1909,  pp.  273-303,  Pis.  VI-VIII.  (On  Mochlos,  by 
Seager.) 

Vol.  XVI,  1912,  p.  278. 


POTTERY  OF  THE  MI  NO  AN  PERIODS. 

Case  I. 

Three  periods  of  Minoan  culture  are  usually  recognized  by 
archaeologists — the  Early,  Middle,  and  Late.  Each  of  these  periods 
is  again  subdivided  into  three  subperiods,  the  First,  Second  and 
Third.  Thus  we  are  really  dealing  with  nine  Minoan  periods, 
beginning  with  the  First  Early  Minoan  (usually  abbreviated  to 
E.  M.  I.)  and  ending  with  the  Third  Late  Minoan  (called  L.  M.  III). 

The  dates  of  these  periods  are  usually  reckoned  as  follows. 


E.  M.  1 2800-2600  B.  C. 

E.  M.  II 2600-2400  B.  C. 

E.  M.  Ill 2400-2200  B.  C. 

M.  M.  1 2200-2100  B.  C. 

M.  M.  II 2100-1900  B.  C. 

M.  M.  Ill 1900-1700  B.  C. 

L.  M.  1 1700-1500  B.  C. 

L.  M.  II 1500-1450  B.  C. 

L.  M.  Ill 1450-1200  B.  C. 


The  period  of  Mycenae  begins  at  this  time,  and  this  culture 
lasts  in  the  mainland  of  Greece  until  about  1000  B.  C. 

The  first  and  second  Late  Minoan  periods  (1700-1450  B.  C.) 
form  the  great  age  of  Crete.  It  is  to  this  epoch  that  the  finest  pro- 
ducts of  the  ceramic  art  of  the  Minoans  belong.  Not  only  was  the 
pottery  at  its  most  perfect  stage,  but  in  painting  the  acme  of  excel- 
lence was  obtained  at  this  time.  Knossos  is  the  great  site  of  this 
period,  with  its  magnificent  frescoes,  reproductions  of  which  are 
on  view  in  the  West  Room,  and  the  large  and  beautiful  palace 
style  vases.  Gournia  and  Pseira,  however,  are  also  especially 
noteworthy  in  this  connection,  as  the  ruins  of  the  towns  discovered 
on  these  sites  are  dated  in  the  First  Late  Minoan  Period.  In  this 
case  are  a few  examples  of  the  pottery  found  there.  These  specimens 
show  the  fertility  of  conception  and  design  of  the  Late  Minoan 


16 


MEDITERRANEAN  SECTION 


vase  painters;  and  many  of  these  vases  are  of  striking  beauty.  It 
is,  then,  at  this  period  that  the  art  of  the  Minoans  reaches  its  highest 
stage  of  development. 

This  great  age,  however,  comes  to  a very  sudden  and  abrupt 
termination  at  a date  usually  given  as  about  1450  B.  C.  At  this 
time,  apparently,  the  whole  of  Crete  suffered  some  great  catastrophe, 
probably  invasion  and  conquest  at  the  hands  of  people  from  the 
mainland  of  Greece.  Knossos,  Pseira,  and  Gournia  were  all 
destroyed.  About  a generation  afterwards,  Knossos  and  Gournia 
were  reoccupied,  and  life  was  resumed;  but  the  pottery  produced 
was  distinctly  inferior  in  conception,  form,  and  decoration.  This 
is  what  is  called  the  Third  Late  Minoan  period,  and  lasts  till  about 
1200  B.  C.  Examples  of  this  pottery  are  in  this  case,  and  can  be 
compared  with  the  finer  examples  of  the  earlier  period. 

About  1000  B.  C.,  iron  is  introduced,  and  the  Homeric  age, 
which  is  the  age  in  which,  and  not  the  age  about  which,  the  Homeric 
poems  were  written,  begins.  In  Crete,  this  is  marked  by  a still 
further  deterioration  of  artistic  feeling,  and  by  the  presence  of 
geometric  pottery.  Vrokastro,  in  Eastern  Crete,  excavated  by  an 
expedition  sent  out  by  this  Museum,  is  one  of  the  principal  sites  of 
this  period. 

Case  I. 

Nos.  1-12  are  vases  of  the  Second  Early  Minoan  Period  (E.  M' 
II).  By  far  the  commonest  pottery  of  this  period,  characteristic 
of  it,  and  which  is  at  once  thought  of  in  connection  with  it,  is  the 
so  called  Vasiliki  ware,  named  for  the  place  where  it  was  first 
found,  and  which  has  yielded  the  greatest  number  of  specimens. 
This  is  a curious  mottled  red  and  black  pottery,  which,  early  as  it 
is,  is  nevertheless  wheelmade,  showing  that  the  Minoan  potters 
were  familiar  with  the  wheel  as  early  as  2500  B.  C. 

No.  1.  Group  of  three  bowls  of  Vasiliki  ware. 

No.  2.  Two  small  pitchers,  with  beaked  spouts,  called  ordinarily 
schnabelkannen,  and  a bowl  of  the  same  ware. 

No.  3.  A very  typical  form  in  the  Vasiliki  technique;  a low  jug,  on 
a foot,  open  at  the  top,  and  with  an  enormous  beaked  spout 
at  one  side. 

No.  4.  Group  of  three  egg  cup  shaped  vases  of  Vasiliki  ware. 

No.  5.  Two  bowls  of  the  same  period,  of  plain  red  ware. 


17 


THE  UNIVERSITY  MUSEUM 


No.  6.  A medium  sized  schnabelkanne  or  beaked  pitcher,  of 
Vasiliki  ware. 

No.  7.  A group  composed  of  a Vasiliki  egg  cup,  and  a small  jug, 
of  the  same  period,  from  a site  called  Priniatiko  Pyrgo, 
in  Eastern  Crete.  This  jug  has  decorations  in  red  on  a 
buff  ground. 

No.  8.  Two  bowls  of  Vasiliki  ware. 

No.  9.  A small  jar  of  the  same  ware. 

No.  10.  A small  cup,  with  what  is  known  as  a bridge  spout  of 
the  same  ware. 

No.  11.  A vase  of  stone,  with  incised  decoration,  from  Gournia,  of 
the  Second  Early  Alinoan  period. 

No.  12.  A cup  of  grey  ware  of  the  same  period,  from  Sphoungaras,  a 
site  in  Eastern  Crete,  explored  by  the  University  Museum’s 
Cretan  expedition.  This  shape,  with  its  high  handle, 
persists  in  Classical  times,  when  it  is  called  a kyathos. 

Nos.  13-25  are  vases  of  the  Third  Early  and  First  Middle 
Minoan  periods  (2400-2100  B.  C.),  with  the  exception  of  No.  14, 
which  is  of  the  Second  Early  Minoan  period.  It  is  now  believed  by 
specialists  in  Cretan  archaeology  that  these  two  periods  are  not 
really  distinct,  but  should  be  merged  together.  We  have  in  the 
epoch  vases  with  geometric  designs  in  dark  color  on  a light  ground, 
and  the  reverse  process;  but  in  each  case  the  designs  show'  the  same 
tendency. 

No.  13.  A group  of  four  bowls  with  light  patterns  on  a dark  ground, 
from  Vasiliki. 

No.  14.  Plate  of  the  Second  Early  Minoan  period,  of  red  pottery, 
approximating  the  Vasiliki  ware. 

No.  16.  A cup  of  the  Third  Early  Minoan  period,  found  on  the 
Island  of  Pseira.  The  graceful  decoration,  of  lines  and 
dots,  is  one  of  the  arguments  for  merging  this  period 
with  the  next,  or  First  Middle  Minoan. 

No.  1 7.  A small  cup  from  Vasiliki,  of  lustrous  buff  clay,  with  designs 
in  dark  wash. 

No.  18.  A cup  with  a handle,  also  from  Vasiliki,  of  the  same  period. 

The  decoration  is  in  white  on  a dark  background. 

No.  19.  A small  cup  of  Vasiliki  ware  with  a broad  white  stripe  at 
the  top. 


18 


MEDITERRANEAN  SECTION 


No.  20.  A jug  of  a characteristic  First  Middle  Minoan  type,  with 
dark  designs  on  a light  ground,  found  at  Pseira. 

No.  21.  A pair  of  pitchers  from  Vasiliki.  The  decoration,  which  is 
identical  on  the  two  vases,  is  in  red  and  white  on  a black 
ground.  The  principal  design  is  of  a frieze  of  fish,  which 
runs  around  the  middle  of  the  vase. 

No.  22.  A pair  of  lids  of  the  same  period  from  Pseira.  The  decora- 
tion is  of  dark  lines  laid  directly  on  the  clay,  no  slip  being 
employed. 

No.  23.  A pitcher,  with  much  the  same  decoration  as  the  above, 
from  Gournia. 

No.  24.  A lid  from  Pseira,  of  buff  clay,  with  a dark  wash,  and  a 
decoration  of  white  lines. 

No.  25.  A pitcher,  with  designs  like  those  of  No.  23,  but  in  much 
better  preservation,  from  Pseira. 

Nos.  33-46  are  for  the  most  part  vases  of  the  First  Middle 

Minoan  period,  the  exceptions  being  No.  35,  which  is  of  the  Second 

Middle  Minoan  age;  No.  39,  which  is  of  the  Third  Early  Minoan 

period,  and  Nos.  41  and  43,  which  are  of  the  Third  Middle  Minoan 

period. 

No.  33.  A curious  jug,  with  a side  spout,  of  coarse  red  clay,  found 
at  Pseira. 

No.  34.  Four  small  pitchers  of  buff  clay,  three  from  Sphoungaras, 
and  one  from  Gournia. 

No.  35.  These  fragments,  which  have  red  and  white  designs  on  a 
black  ground,  mark  the  best  work  of  the  potters  of  the 
Second  Middle  Minoan  period,  and  this  ware  is  known  to 
students,  from  the  place  where  it  was  first  found,  as 
Kamares  ware. 

No.  36.  A small  pot  of  undecorated  grey  ware,  from  Priniatiko 
Pyrgo. 

No.  37.  A tumbler  shaped  cup  from  Priniatiko  Pyrgo,  with  a 
striped  decoration  of  black  and  buff. 

No.  38.  A small  jug,  with  a side  spout,  of  polished  grey  ware,  from 
Gournia. 

No.  39.  A cup,  of  the  Third  Early  Minoan  period,  from  Pseira, 
with  white  designs  on  a dark  ground,  which  has  become 
red  from  overfiring. 


19 


THE  UNIVERSITY  MUSEUM 


No.  40. 


No.  41. 


No.  42. 
No.  43. 


No.  44. 

No.  45. 

No.  46. 
No.  47. 


A pair  of  cups,  one  from  Gournia,  the  other  from  the  first 
settlement  of  Vrokastro,  both  of  buff  clay,  with  a dark 
band  at  the  top. 

A cup  of  the  Third  Middle  Minoan  period,  in  the  shape  of 
a tumbler,  found  at  Gournia,  with  a design  of  running 
spirals  in  white  on  a dark  ground. 

A cup,  with  a handle,  from  Sphoungaras,  of  undecorated 
grey  ware. 

A pair  of  bowls,  of  the  Third  Middle  Minoan  period,  with 
a decoration  of  running  spirals  in  white  on  a dark  ground. 
One  is  from  Gournia,  the  other  from  Priniatiko  Pyrgo. 

A pair  of  cups  like  the  pair,  No.  40.  Both  were  found  at 
Sphoungaras. 

A cup  with  linear  decoration  in  red  on  a buff  ground,  from 
Vasiliki. 

A cup  of  buff  clay,  covered  with  a dark  wash,  from  Pseira. 

A group  of  eleven  toy  vases,  of  the  First  Late  Minoan  period 
(1700-1500  B.  C.).  A very  remarkable  and  unusual 
collection. 


Nos.  48-60  and  170-211  are  vases  of  the  First  and  Third  Late 
Minoan  periods.  This  period  marks  the  height  of  the  history  of 
the  ceramic  art  in  Crete.  The  designs  painted  on  vases  by  the  Minoan 
potters  of  this  epoch  represent  a technical  skill  and  artistic  feeling 
not  to  be  surpassed. 

No.  48.  A pitcher  of  reddish  clay,  with  a light  slip,  and  decoration 
in  black,  from  Pseira. 

No.  49.  Two  small  jugs,  found  at  Pseira,  one  with  dots  in  red,  and 
one  with  a scale  pattern  in  black. 

No.  50.  A flask  from  Pseira,  with  three  small  handles  on  the  shoul- 
ders, and  with  decorations,  in  black. 

No.  51.  A shallow  dish,  with  a long  beaked  side  spout,  found  at 
Gournia.  This  vase,  though  perhaps  of  the  First,  is  more 
probably  of  the  Third  Late  Minoan  period. 

No.  52.  A small  jar,  found  at  Pseira.  It  was  made  with  a handle, 
which  has  been  broken  off.  It  is  decorated  with  a design 
of  foliage. 

No.  55.  A large  twohandled  cooking  pot,  on  three  high  legs.  The 
pot  is  of  coarse  red  clay,  and  the  rim  is  pinched  to  form  a 


20 


MEDITERRANEAN  SECTION 

spout.  It  was  found  at  Gournia,  and  belongs  in  the  First 
Late  Minoan  period. 

No.  60.  A large  brazier,  or  fire  box,  of  coarse  red  clay,  with  a flaring 
rim  and  a high  handle.  This  also  is  dated  in  the  First 
Late  Minoan  Period,  and  was  found  at  Gournia. 

No.  170.  A small  onehandled  cup  of  buff  clay,  with  a design  of 
running  spirals  in  black,  and  black  bands  around  the 
body.  Mended  and  restored.  First  Late  Minoan  period. 
From  Priniatiko  Pyrgo. 

No.  171.  A onehandled  cup  on  a high  foot,  put  together  from  many 
fragments  and  of  which  much  is  missing.  It  is  of  buff 
clay,  and  is  decorated  with  brown  bands  and  a row  of 
double  axes.  The  double  axe  had  a very  definite  religious 
significance  among  the  Minoans.  First  Late  Minoan 
period.  From  Gournia. 

No.  172.  A bowl,  much  restored,  and  decorated  both  outside  and 
in  the  interior.  On  the  outside  is  a series  of  vertical 
black  lines,  wide  at  the  top,  and  narrowing  at  the  bottom, 
called  a ripple.  Inside  is  a wave  pattern.  Same  period. 
From  Priniatiko  Pyrgo. 

No.  173.  A small  jar,  in  perfect  preservation,  of  buff  clay,  with 
three  small  handles  at  the  neck.  The  decoration  of 
octopuses  is  very  naturalistic  and  beautiful;  below  is  a 
series  of  bands.  Same  period.  From  Pseira. 

No.  174.  A large  pitcher,  put  together  from  fragments,  some  of 
which  are  missing.  Buff  clay  with  designs  of  bands, 
whorls,  and  crescents  in  black.  Same  period.  From 
Pseira. 

No.  175.  A cup  without  handles,  with  a ripple  pattern  like  No.  172, 
of  the  same  period,  and  from  the  same  site  as  that  specimen. 

No.  176.  Two  cups,  decorated  with  white  bands  and  running  spirals 
on  a dark  ground.  Both  are  put  together  from  fragments 
and  restored.  Same  period.  One  is  from  Gournia,  the 
other  from  Pseira. 

No.  177.  A large  vase,  of  a shape  peculiar  to  the  Minoan  civiliza- 
tion, often  called  a stirrup  jar,  or  a falsenecked 
amphora,  but  more  commonly  by  the  German  term 
bugelkanne.  Put  together  from  many  fragments;  much 
is  missing.  When  complete,  two  handles  joined  the 
false  neck,  which  was  closed,  while  the  true  mouth  of 


21 


THE  UNIVERSITY  MUSEUM 


the  vase  was  on  the  shoulder  at  one  side.  This  specimen 
is  of  buff  clay,  with  a very  naturalistic  plant  decoration 
on  the  shoulder,  and  bands  and  zigzags  on  the  body. 
Same  period.  Found  on  the  island  of  Mochlos,  off 
Eastern  Crete,  but  probably  made  at  Gournia. 

No.  178.  Sidespouted  jar,  in  perfect  preservation.  It  has  two 
horizontal  side  handles,  and  a vertical  rear  handle.  Buff 
clay,  with  decorations  of  bands.  Same  period.  From 
Pseira. 

No.  179.  A cup  of  buff  clay,  with  a decoration  of  black  bands  and 
crescents.  Put  together  from  fragments,  and  part  missing. 
Same  period.  From  Pseira. 

No.  180.  A pitcher,  in  almost  complete  preservation,  of  buff  clay, 
with  a decoration  of  bands  and  running  spirals  in  black, 
to  which  white  overcolor  has  been  added.  Same  period. 
From  Pseira. 

No.  181.  A very  small  pot,  put  together  from  fragments,  with  a 
decoration  of  bands  and  a garland  of  leaves  running  around 
the  body.  Same  period.  From  Gournia. 

No.  182.  This  is  perhaps  the  finest  original  Cretan  vase  in  the 
collection,  and  shows  to  what  heights  the  Minoan  ceramic 
art  attained.  It  is  a bottle  shaped  vase,  with  a narrow 
mouth  and  one  handle,  with  a finely  conceived  design  of 
dolphins  swimming  in  front  of  a mass  of  seaweed.  In 
the  bottom  is  a hole,  made  by  intention,  showing  that  it 
was  a form  of  strainer  for  wine.  Same  period.  From 
Pseira. 

No.  183.  A very  small  cup,  much  restored,  decorated  with  a most 
naturalistic  plant  pattern.  Same  period.  From  Pseira. 

No.  184.  A small  jug  of  buff  clay,  with  a beaked  spout,  decorated 
with  bands  and  dots.  Same  period.  From  Pseira. 

No.  185.  A large  cup,  or  bowl,  without  handles,  of  the  usual  buff 
clay,  decorated  with  bands  and  a leaf  pattern.  Same 
period.  From  Pseira.  Much  restored. 

No.  186.  A cup  of  buff  clay  with  one  ordinary  handle  and  one  lug 
handle.  The  rim  has  been  pinched  to  form  a spout  at  one 
side.  It  is  put  together  from  fragments  and  the  missing 
parts  are  restored.  Around  the  rim  is  a heavy  band  of 
black,  on  which  is  a design  of  running  spirals  in  white. 


22 


MEDITERRANEAN  SECTION 


Below  the  ordinary  handle  are  two  bands  of  brown.  Same 
period.  From  Pseira. 

No.  187.  A cup  of  very  thin  clay,  mended,  about  half  missing,  and 
restored.  The  decoration  is  of  bands  and  a leaf  pattern  in 
brown.  On  the  bands  narrow  white  stripes  have  been 
added.  Same  period.  From  Pseira. 

No.  188.  A side  spouted  jar,  put  together  from  fragments,  with 
only  one  handle  missing.  The  decoration  is  of  bands  and 
a leaf  pattern.  Same  period.  From  Pseira. 

No.  189.  This  vase,  with  No.  182,  ranks  as  one  of  the  most  beautiful 
examples  of  Cretan  pottery  in  the  collection.  It  is  of 
interest  not  only  for  its  designs  but  for  its  shape.  It  will 
be  seen  that  it  is  one  of  those  funnel  shaped  vases  such 
as  are  depicted  in  the  cup  bearer  fresco,  and  in  the 
reproduction  of  the  boxer  vase.  The  decoration  of 
spirals  is  particularly  characteristic;  but  other  typical 
patterns  occur,  such  as  bands,  rows  of  dots,  and  a leaf 
pattern.  Same  period.  From  Gournia. 

No.  190.  A group  of  two  small  cups,  put  together  from  fragments,  of 
the  usual  buff  clay,  and  with  the  usual  decorations  of 
dots,  leaf  pattern,  and  spirals.  Same  period.  From 
Pseira. 

No.  191.  A bowl  of  buff  clay,  with  the  rim  pinched  to  form  a spout, 
and  two  side  handles.  Put  together  from  fragments,  and 
the  missing  parts  restored.  The  decoration  consists  of 
heavy  black  bands  around  the  body.  Same  period.  From 
Pseira. 

No.  194.  A large,  cylindrical  jar  without  handles,  of  buff  clay,  and 
originally  furnished  with  a lid.  For  decoration,  it  has 
conventional  wave,  checkerboard,  and  scale  patterns  in 
panels.  This  comes  from  Gournia,  and  was  made  at  the 
time  of  the  reoccupation  of  the  city,  in  the  Third  Late 
Minoan  Period. 

No.  195.  Five  characteristic  pots  of  the  Third  Late  Minoan  period, 
coming  for  the  most  part  from  Gournia.  These  are  of 
the  shape  called  stirrup  jars,  or  falsenecked  amphorae, 
and  vases  of  this  form  constitute  the  principal  finds  of 
this  period,  as  far  as  pottery  is  concerned.  For  an  example 
of  this  shape  in  the  First  Late  Minoan  period,  see  No.  177 
in  this  case,  and  also  the  reproduction  of  the  octopus 


23 


THE  UNIVERSITY  MUSEUM 


vase  in  the  West  room,  Alcove  C,  Case  IV,  No.  13.  We 
should  observe  that  the  naturalism  to  be  found  in  such 
vases  as  the  octopus  vase,  or  in  No.  182  in  this  case,  has 
degenerated  into  very  conventional  patterns. 

No.  196.  A fine,  large,  falsenecked  amphora,  in  almost  perfect 
preservation,  the  only  lost  part  being  a piece  chipped  off 
the  rim  of  the  mouth.  It  is  tall,  with  a wide  shoulder, 
tapering  to  a small  foot,  and  is  decorated  with  a series  of 
broad  red  stripes.  This  is  also  of  the  Third  Late  Minoan 
period.  From  Gournia. 

No.  197.  A pair  of  small  pitchers  from  Gournia,  of  the  same  period, 
with  conventional  decoration. 

No.  204.  A large  water  flask  of  the  Post  Minoan  period,  from 
Vrokastro.  It  is  decorated  with  concentric  circles  and 
zigzags.  Put  together  from  fragments  and  the  missing 
parts  restored. 

The  visitor’s  attention  should  now  be  turned  to  three  vases 

that  are  exhibited  on  top  of  Case  I. 

No.  205.  A fine  large  jar  of  the  First  Late  Minoan  period,  with  four 
handles  at  the  shoulder,  and  beautiful  designs  of  spirals, 
lobes  and  plant  decoration,  from  Gournia.  Put  together 
from  fragments,  and  the  missing  parts  restored. 

No.  206.  A large  amphora  of  the  Cretan  geometric  period,  with 
side  handles,  and  a decoration  in  panels  in  the  center,  of 
spirals,  and  other  conventional  ornaments.  Found  at  a 
site  in  Crete  called  Kalo  Khorio,  and  put  together  from 
fragments  with  the  missing  parts  restored. 

No.  207.  A small  pithos,  or  jar,  with  three  handles  on  the  shoulder, 
and  of  coarse  clay  with  a trickle  ornament.  Found  at 
Gournia,  and  put  together  from  fragments.  Third  Middle 
Minoan  period  (1900-1700  B.  C.). 

Three  other  vases  of  equal  importance  will  be  found  on  top  of 

Case  III. 

No.  208.  A large  side  spouted  jar,  with  spirals,  a band  of  leaves, 
and  a ripple  pattern.  Put  together  from  fragments,  and 
the  greater  part  restored.  Found  on  the  Island  of  Mochlos, 
off  Eastern  Crete.  First  Late  Minoan  period  (1700- 
1500  B.  C.). 


24 


MEDITERRANEAN  SECTION 


No.  209.  A small  pithos,  put  together  from  fragments,  and  nearly 
complete,  decorated  with  lobes,  bands  and  plant  patterns. 
Same  period  and  from  the  same  site  as  No.  208. 

No.  210.  A large  krater,  or  bowl,  of  buff  clay,  with  a debased  octopus 
pattern.  Third  Late  Minoan  period  (1450-1200  B.  C.). 
From  Gournia. 

Finally,  in  the  first  of  the  center  alcoves  to  the  left  will  be  found— 
No.  211.  A large  jar,  or  pithos,  of  coarse  clay.  This  is  of  the  First 
Late  Minoan  period,  and  comes  from  Gournia.  This 
pithos  was  used  for  the  storage  of  grain,  or  oil,  and  is  one 
of  a large  number  of  such  objects  that  have  been  found  in 
Cretan  palaces.  Hundreds  of  them  were  found  at  Knos- 
sos,  arranged  in  galleries  opening  out  into  a longer  gallery, 
and  these  galleries  constituted  the  store  rooms  of  the 
palace.  And  so  at  Gournia  a large  number  were  found 
similarly  arranged. 


POTSHERDS  FROM  CRETE,  OF  VARIOUS  PERIODS. 
Case  II. 

Besides  containing  a representative  collection  of  sherds  that 
trace  the  history  of  the  decorative  art  of  Minoan  times,  this  case  also 
contains  examples  of  loom  weights,  spindle  whorls,  beads,  and  the 
like,  and  a group  of  neolithic  sherds  from  Thessaly,  examples  of  the 
oldest  civilization  on  the  mainland  of  Greece. 

No.  67.  A crude  roller,  of  white  limestone,  and  a saddle  quern,  or 
hand  mill,  of  trachyte,  used  together  to  grind  corn  and 
other  grain.  This  is  a primitive  method  to  find  employed 
by  a people  in  other  respects  so  highly  civilized. 

No.  68.  Piece  of  a terracotta  street  drain  from  Gournia,  at  the 
height  of  the  town’s  prosperity  in  the  First  Late  Minoan 
period  (1700-1500  B.  C.). 

No.  69.  A stone  corn  rubber,  or  mortar,  of  the  same  period,  or 
earlier,  from  Gournia. 

No.  70.  A terracotta  polisher,  from  Sphoungaras,  and  a whetstone 
from  Gournia,  of  the  same  period. 

No.  71.  A pair  of  loom  weights,  of  red  clay,  and  spherical,  with  a 
hole  through  the  center. 


25 


THE  UNIVERSITY  MUSEUM 


No.  72. 
No.  73. 

No.  74. 
No.  75. 

No.  76. 
No.  77. 


No.  78. 
No.  79. 

No.  80. 

No.  81. 

No.  82. 


No.  83. 


No.  84. 
No.  85. 

No.  86. 


No.  87. 
No.  88. 

No.  89. 
No.  90. 


A pair  of  the  same,  but  flat  and  circular. 

A pair  of  the  same,  but  cubic.  All  these  examples  are  from 
Gournia. 

A pair  of  stone  weights  from  Gournia. 

Three  sherds  of  Neolithic,  pre-Minoan  pottery  of  Crete, 
dating  at  about  3000  B.  C.,  and  found  at  Sphoungaras. 

A series  of  twelve  potsherds  of  Vasiliki  ware. 

A fragment  of  a large  jar  of  the  Third  Early  Minoan  period, 
from  Vasiliki,  with  white  decorations  on  a red  ground. 

A series  of  fifteen  sherds  of  the  same  period,  from  Gournia. 

Fragment  of  a lid,  like  those  under  the  number  22,  from 
Gournia.  First  Middle  Minoan  period. 

A group  of  eight  sherds  of  the  same  period  (First  Middle 
Minoan),  from  Gournia. 

Three  sherds  of  the  Third  Middle  Minoan  period,  also  from 
Gournia. 

Part  of  the  lid  of  a pithos,  or  large  jar,  of  the  First  Late 
Minoan  period,  put  together  from  three  fragments.  Found 
at  Gournia. 

A collection  of  seventeen  sherds,  mostly  from  Gournia,  of 
the  First  Late  Minoan  period,  the  acme  of  the  Cretan 
ceramic  art. 

A fragmentary  bowl  of  the  same  period,  also  from  Gournia. 

A sherd  from  Gournia,  of  the  Third  Late  Minoan  period 
(1450-1200  B.  C.). 

Two  fragments  from  iron  saws,  of  the  Cretan  geometric 
period.  The  Minoan  civilization  was  a purely  Bronze 
Age  culture,  and  was  followed  by  an  Early  Iron  Age  with 
geometric  pottery.  These  fragments  were  found  at  the 
Cretan  geometric  settlement  of  Vrokastro,  and  are  prob- 
ably in  the  period  centering  at  about  1000  B.  C. 

Four  clay  spindle  whorls,  and  one  of  shell,  from  Gournia, 
dating  in  the  First  Late  Minoan  period. 

A glass  bead,  with  beautiful  iridescence,  probably  an 
importation  from  Egypt,  and  found  at  Vrokastro.  It  is 
of  later  date  than  the  Late  Minoan  culture. 

Four  stone  spindle  whorls,  and  two  other  implements  of 
stone,  from  Gournia. 

A collection  of  twelve  potsherds  from  two  prehistoric  sites 
in  Thessaly,  now  called  Dimini  and  Sesklo.  These  sherds 


26 


MEDITERRANEAN  SECTION 


belong  to  a Late  Stone  Age  culture,  perhaps  contempora- 
neous with  the  First  Early  Minoan  period  in  Crete.  They 
show  a great  decorative  sense  on  the  part  of  these  primi- 
tive peoples. 


STONE  VASES  FROM  CRETE. 

Case  III. 

The  Minoans  were  not  only  expert  potters,  but  also  possessed 
great  technical  skill  in  the  working  of  stone.  In  the  West  Room 
are  reproductions  of  the  three  most  famous  stone  vases  that  have 
been  found— the  socalled  harvester,  chieftain,  and  boxer  vases, 
ornamented  with  designs  in  relief.  The  vases  exhibited  in  this 
case  are  of  humbler  origin,  but  show  the  great  sense  of  form 
possessed  by  these  early  craftsmen. 

It  is  a curious  fact  that  as  the  Minoans  became  increasingly 
familiar  with  the  manufacture  of  pottery,  they  lost  the  art,  little 
by  little,  of  carving  vases  in  stone.  The  finest  stone  vases  date  in 
the  Early  Minoan  period,  and  were  found  on  an  island  called  Mo- 
chlos,  off  the  north  coast  of  Eastern  Crete,  in  excavations  conducted 
by  Mr.  Richard  B.  Seager  for  the  American  School  of  Classical 
Studies  at  Athens.  The  Museum  is  fortunate  in  having  one  or  two 
of  these  specimens  in  its  collection,  as  well  as  examples  from  all  the 
sites  excavated  by  its  own  expeditions.  The  collection  here  shown 
represents  examples  of  every  period;  and  it  will  be  noticed  how 
much  finer,  as  a rule,  the  earlier  specimens  are  than  those  which 
succeed  them. 

The  material  most  commonly  used  is  a kind  of  soapstone  called 
steatite;  but  a soft  veined  marble  is  also  employed,  as  well  as 
alabaster. 

No.  29.  This  object,  from  Gournia,  is  known,  for  want  of  a better 
term,  as  a pair  of  horns  of  consecration.  The  purpose 
is  unknown,  but  it  seems  to  have  had  some  religious 
significance. 

For  a discussion,  and  a new  interpretation  of  the 
meaning  of  these  objects,  see  Holland,  A.  J.  A.,  XXI, 
1917,  pp.  129-135,  and  417-419.  He  considers  them 
to  be  seats  of  honor  for  the  gods. 


27 


THE  UNIVERSITY  MUSEUM 


No.  62.  A clay  lamp,  on  a very  high,  hollow  foot,  broken  and 
mended.  Buff  clay,  with  traces  of  a red  slip.  Found 
at  Gournia.  First  Late  Minoan  period. 

No.  91.  A very  small  cup  of  veined  marble,  broken  and  mended. 

This  little  vase  comes  from  Mochlos,  and  is  of  the  Second 
Early  Minoan  period,  ca.  2500  B.  C. 

No.  92.  A small  steatite  bowl,  from  Pseira.  It  is  dated  in  the 
Middle  Minoan  period  (ca.  2000  B.  C.),  because  of  other 
objects  found  with  it. 

No.  93.  A small  steatite  jar,  with  a cover.  It  has  been  mended, 
and  comes  from  Pseira,  and  dates  in  the  Middle  Minoan 
period.  It  is  decorated  with  incised  lines. 

No.  94.  A small  basin  shaped  bowl,  of  veined  marble,  much  restored. 

It  was  made  in  the  Second  Early  Minoan  period,  about 
2500  B.  C. 

No.  95.  A cup  of  alabaster,  on  a stem,  shaped  something  like  a 
claret  glass,  found  at  Pseira,  and  dated  either  in  the  end 
of  the  Middle  Minoan,  or  the  First  Late  Minoan  periods 
(2000-1500  B.  C.). 

No.  96.  An  alabaster  jar  of  the  First  Minoan  period,  from  Gournia. 

It  is  much  restored,  but  the  shape  is  correctly  rendered. 
Near  the  rim  are  two  horizontal  handles. 

No.  97.  This  is  one  of  the  most  pleasing  specimens  in  the  collection. 

The  outer  surface  is  chiseled  to  represent  sheathing 
leaves,  with  strong  midribs.  It  is  called  a blossom 
bowl,  and  is  a peculiarly  Cretan  type  of  vase,  of  the 
First  Late  Minoan  period.  This  example  was  found  at 
Gournia  and  is  of  steatite. 

No.  98.  An  alabaster  jug,  of  the  Second  Early  Minoan  period, 
restored.  Notice  the  skill  shown  in  working  the  alabaster, 
and  the  almost  egg  shell  thinness  of  the  walls  of  the  vase. 

No.  99.  A small  steatite  jug  and  cover  from  Gournia.  Besides 
the  back  handle,  there  are  two  small  lug  handles  at  the 
sides.  This  vase,  which  is  of  the  First  Late  Minoan  period, 
should  be  compared  with  No.  98,  showing  how  the  art 
of  making  vases  out  of  stone  deteriorated,  as  the  skill 
of  the  potter  increased. 

No.  100.  A small  double  vase  of  steatite,  with  incised  decoration, 
from  Vasiliki,  belonging  in  the  Second  Early  Minoan 
period,  the  era  of  the  Vasiliki  ware. 


28 


MEDITERRANEAN  SECTION 


No.  101. 

No.  102. 
No.  103. 
No.  104. 

No.  105. 
No.  106. 
No.  107. 
No.  108. 
No.  109. 
No.  110. 
No.  111. 

No.  112. 

No.  113. 
No.  114. 
No.  115. 

No.  116. 


A tiny  marble  dish,  of  exquisite  workmanship,  with  a 
side  spout.  This  little  vase  comes  from  Mochlos,  and 
is  of  the  Second  Early  Minoan  period. 

A tiny  vase  with  a side  handle,  of  green  steatite,  of  the 
same  period,  from  Sphoungaras. 

A very  small  steatite  bowl  from  Gournia.  First  Late 
Minoan  period. 

A marble  bowl  from  Pseira,  of  the  Third  Late  Minoan 
period  (1450-1200  B.  C.).  This  shape  with  very  thick 
walls,  and  very  small  interior,  is  peculiar  to  this  period. 

A basin  like  bowl,  with  two  lug  handles,  found  at  Pseira, 
but  of  the  Second  Early  Minoan  period  (ca.  2500  B.  C.). 

A steatite  bowl,  from  Gournia,  with  a horizontal  ribbed 
decoration  on  the  shoulder.  First  Late  Minoan  period. 
A blossom  bowl  like  No.  97,  and  of  the  same  period,  but 
larger.  Found  at  Pseira. 

A steatite  cup,  also  from  Pseira,  of  the  Middle  Minoan 
period  (ca.  2000  B.  C.). 

A wide  bowl,  or  drinking  cup.  with  two  lug  handles,  of 
the  same  period,  and  from  the  same  site  as  the  preceding. 
A cylindrical  steatite  cup,  of  the  same  period,  and  from 
the  same  site. 

Two  stone  lids,  for  vases,  each  with  a central  knob  handle, 
found  at  Gournia,  and  belonging  in  the  First  Late  Minoan 
period. 

A fragment,  perhaps  from  a drinking  cup,  of  steatite,  one 
handle  of  which  is  preserved,  and  which  seems  to  be  in 
the  form  of  the  horns  of  a bull.  This  specimen  comes 
from  Gournia,  and  belongs  in  the  First  Late  Minoan 
period. 

A small  steatite  bowl,  with  four  small  handles,  found  at 
Pseira,  and  belonging  in  the  Early  Minoan  period. 

A square  steatite  bowl,  with  a central  circular  depression, 
from  Gournia,  dating  in  the  First  Late  Minoan  period. 
Two  bowls  of  the  typical  shape  of  the  Third  Late  Minoan 
period,  of  veined  marble,  one  from  Gournia,  the  other 
from  Vrokastro. 

A fragment  of  a steatite  cup,  with  a handle,  of  the  First 
Late  Minoan  period,  from  Pseira. 


29 


THE  UNIVERSITY  MUSEUM 


No.  117.  A large  bowl  of  steatite,  with  two  lug  handles,  from  Gour- 
nia.  First  Late  Minoan  period. 

No.  1 18.  A bowl  of  the  same  kind,  but  smaller,  of  the  same'period, 
and  from  the  same  site  as  the  preceding. 

No.  1 19A.  A steatite  bowl  from  Sphoungaras,  of  the  Early  Minoan 
age. 

No.  1 19B.  A steatite  bowl  of  identical  shape,  but  of  the  First  Late 
Minoan  period,  showing  the  continuity  of  the  forms 
employed. 

No.  120.  Two  small  bowls  of  similar  shape,  of  the  First  Late  Minoan 
period,  one  from  Gournia,  the  other  from  Pseira. 

No.  121.  A small  steatite  bowl,  with  two  lug  handles,  broken  and 
mended,  from  Pseira,  belonging  in  the  Second  Early 
Minoan  period. 

No.  122.  A bowl  of  somewhat  larger  size,  from  the  same  site,  but 
of  the  First  Late  Minoan  period. 

No.  123.  A fine  bowl  of  steatite,  with  two  lug  handles,  from  the 
same  site,  but  of  the  Second  Early  Minoan  period. 

No.  124.  A small  steatite  lid  for  a vase,  from  the  same  site,  and 
assigned  to  Middle  Minoan  times.  The  exact  period  is 
uncertain. 

No.  125A.  Part  of  a slender  cup  of  green  steatite  on  a foot,  from  the 
same  site,  and  belonging  in  the  Second  Early  Minoan 
period. 

No.  125B.  A vase  of  the  same  period,  and  of  the  same  shape,  but 
larger.  It  is  of  breccia,  and  was  found  at  Mochlos.  Only 
a fragment  is  preserved. 

No.  126.  A large  bowl  of  steatite,  from  Gournia,  of  the  First  Late 
Minoan  period,  broken  and  mended. 

No.  127.  A small  steatite  bowl  of  the  same  period,  from  Pseira. 

No.  128.  A marble  cup  of  the  same  shape  and  period  (Early  Minoan 
II)  as  No.  91,  but  much  larger.  Found  at  Gournia. 

No.  129.  A pair  of  small  lug  handled  bowls  from  Pseira,  of  the  end 
of  the  Middle  Minoan,  or  beginning  of  the  Late  Minoan 
period. 

No.  130.  Two  fragments  of  a double  libation  bowl  or  offering 
stand  of  the  Second  Early  Minoan  period.  Beside 
them  has  been  placed  a restoration  in  plaster,  to  show 
what  such  a bowl  looked  like  in  its  original  state.  At 
the  four  corners,  and  between  the  two  receptacles,  are 


MEDITERRANEAN  SECTION 


slight  circular  depressions.  Furthermore,  the  bowl  is 
everywhere  ornamented  with  incised  decorations.  This 
bowl  is  of  steatite,  and  comes  from  Gournia. 

No.  131.  A bowl,  with  a rim,  of  steatite,  from  Pseira,  and  belonging 
in  Middle  Minoan  times  (ca.  2000  B.  C.).  The  presence  of 
the  rim  is  unusual. 

No.  132.  A bowl  of  the  same  shape  and  period  as  No.  106,  but 
smaller,  from  Pseira. 

No.  133.  Two  bowls  of  veined  marble,  of  the  same  shape  as  the  two 
numbered  115,  which  is  a shape  common  in  the  Third  Late 
Minoan  period.  One  is  from  Gournia,  the  other  from 
Vrokastro. 

No.  134.  Part  of  a steatite  vase,  possibly  a filler  like  that  carried 
by  the  man  in  the  cup  bearer  fresco  from  Knossos,  a 
reproduction  of  which  is  shown  in  the  West  Room,  No.  3 
in  the  collection  of  reproductions  of  frescoes.  The  so 
called  boxer  vase,  a reproduction  of  which  is  also  shown 
in  the  West  Room,  Alcove  C,  No.  15,  is  also  an  example 
of  this  shape.  An  original  filler  in  pottery  is  exhibited 
in  Case  I,  No.  189.  This  fragment  comes  from  Pseira, 
and  belongs  in  the  First  Late  Minoan  period. 

No.  136.  A small  cylindrical  cup,  of  the  same  shape  and  period, 
and  from  the  same  site,  as  Nos.  108  and  1 10  in  this  case. 


MISCELLANEOUS  OBJECTS  FROM  CRETE. 

Case  IV. 

In  this  case  are  included  such  widely  diversified  things  as  lamps, 
stone  objects,  called  for  want  of  a better  or  more  accurate  term, 
tables  of  offerings,  and  miscellaneous  bronze  specimens,  from 
the  different  expeditions  to  Crete  sent  out  by  the  Museum. 

The  Minoans  were  a Bronze  Age  people.  Iron  articles  do  not 
appear  until  after  the  true  Minoan  culture  had  passed,  and  the 
Geometric  Age  had  set  in.  At  that  time  we  find  many  traces  of  a 
great  familiarity  with  iron.  In  Case  II,  under  the  number  86,  are 
two  small  fragments  of  iron  saws  from  Vrokastro,  one  of  the  prin- 
cipal sites  of  this  geometric  period;  in  this  case  are  other  specimens 
of  this  culture  under  the  numbers  168  and  169. 

The  true  Minoan  civilization,  then,  was  of  the  Bronze  Age. 


31 


THE  UNIVERSITY  MUSEUM 


In  the  working  of  this  metal  it  resembles  very  strongly,  in  certain 
respects,  the  work  done  in  Cyprus,  which  will  be  found  in  Case  VI I, 
Nos.  70-77,  and  90-97.  Tt  is  very  likely  that  the  Cypriotes  knew 
of  bronze  before  the  Minoans,  on  account  of  the  resources  in  copper 
that  their  island  possessed;  indeed,  knives  like  the  ones  shown  here 
were  made  in  Cyprus  in  the  Early  Bronze  Age  (corresponding  to 
the  Early  Minoan  period),  while  these  knives  were  made  in  the 
First  Late  Minoan  period,  or,  in  Cypriote  chronology,  early  in  the 
Late  Bronze  Age.  It  is  probable,  however,  that  the  Minoans,  once 
they  started,  made  greater  progress  than  the  people  of  Cyprus,  and 
that  it  was  from  them  that  the  Cypriotes  learned  to  fasten  their  soear 
heads  to  the  shafts  by  sockets  rather  than  by  a tang. 

The  objects  in  this  case  show  the  wide  use  of  bronze  in  the  daily 
life  and  occupation  of  the  Minoans.  Here  are  to  be  found  knives, 
axes,  chisels  of  different  kinds,  awls,  saw  blades,  tweezers,  needles, 
bodkins,  weaving  hooks,  fish  hooks,  scale  pans,  and,  last  but  not 
least,  a drinking  cup.  All  of  this  shows  that  the  Minoans  were  no 
mean  workers  in  bronze. 

Nos.  26-32  are  lamps,  of  pottery  or  steatite.  The  greater  part 
of  these  objects  are  of  the  First  Late  Minoan  period  (1700-1500 
B.  C.). 


No.  26.  Two  clay  lamps,  the  tall  one  of  Middle  Minoan  date, 
from  Gournia,  the  other,  of  Early  Minoan  times,  from 
Sphoungaras. 

No.  28.  A pair  of  lamps  of  coarse  red  clay,  of  the  first  Late  Minoan 
period,  from  Gournia. 

No.  30.  A steatite  lamp  on  a foot,  from  Gournia.  First  Late  Minoan 
period. 

No.  31.  Three  small  steatite  lamps,  of  very  much  the  same  shape, 
and  of  the  same  period.  Two  are  from  Pseira,  and  one 
from  Gournia. 

No.  32.  A clay  lamp  from  Gournia,  of  the  same  period. 

No.  61.  A large  thick  disc,  of  heavy  grayish  clay,  almost  as  heavy 
as  stone.  In  the  center  of  this  disc  is  a circular  depression, 
the  purpose  of  which  is  obscure.  Around  the  depression 
are  incisions,  possibly  meant  for  ornamentation,  though 
probably  purely  accidental.  Half  way  from  the  center 
to  the  outer  circumference,  a groove  runs  around  the 
disc.  The  purpose  of  this  object  is  not  absolutely  certain; 


32 


MEDITERRANEAN  SECTION 


by  some,  it,  and  objects  like  it,  are  thought  of  as  tables 
of  offerings;  by  others,  it  is  considered  as  a rest  for  a 
distaff;  but  the  most  probable  suggestion  that  has  as 
yet  been  made  is  that  it  is  a potter’s  wheel.  This  object 
has  been  broken  and  mended. 

See  M.  L.  Franchet,  Rapport  sur  une  Mission  en  Crete 
et  en  Egypte,  in  Nouvelles  Archives  des  Missions  Scien- 
tifiques,  Vol.  XXII,  No.  1,  especially  pp.  46-50,  and 
Pis.  I,  II.  (Published  in  1917.) 

No.  63.  A low  lamp  of  coarse  dark  clay,  and  of  large  size.  It  had 
a handle,  now  missing,  and  is  as  strong  and  heavy  as 
stone.  It  was  found  at  Gournia,  and  is  of  the  First  Late 
Minoan  period. 

No.  137.  Two  stone  celts  for  axe  heads,  from  Vrokastro.  The 
period  is  uncertain. 

No.  138.  A collection  of  obsidian  fragments  from  various  Minoan 
sites.  Obsidian  was  evidently  much  sought  for,  and 
the  discovery  of  chips  and  larger  pieces  of  it  in  Crete, 
where  it  does  not  occur  in  the  natural  state,  points  to 
commercial  relations  with  other  kingdoms,  like  that  on 
the  Island  of  Melos,  where  it  was  produced.  From  the 
large  pieces,  called  cores,  small  fragments  were  chipped 
off,  and  an  edge  could  be  obtained  in  this  way  on  a chip 
of  obsidian,  sharp  enough  to  shave  with.  The  use  of 
this  mineral  seems  to  have  gone  on  throughout  the  Minoan 
age,  as  it  could  take  a keener  edge  than  bronze. 

No.  139.  A collection  of  three  axe  heads,  of  the  First  Late  Minoan 
period,  the  one  with  the  dark  patina  coming  from  Pseira, 
the  other  two  from  Gournia.  It  is  to  be  noted  that  they 
are  double  axes. 

No.  140.  A bronze  blade  of  a leather  knife  with  two  rivets  still 
in  position,  where  it  was  fastened  to  its  handle.  This 
blade,  of  the  First  Late  Minoan  period,  comes  from 
Gournia. 

No.  141.  A curved  bronze  blade,  of  the  same  period,  with  a tang 
for  the  handle,  from  Pseira.  It  suggests  in  shape  the 
modern  razor,  but  was  not  used  for  that  purpose. 

No.  142.  A bronze  blade  from  the  same  site  and  of  the  same  period, 
wide  at  the  top,  and  tapering  to  a point  at  the  bottom. 
Two  rivet  holes  at  the  top,  with  one  rivet  still  in  place. 


33 


THE  UNIVERSITY  MUSEUM 


No.  143. 
No.  144. 

No.  145. 

No.  146. 


No.  147. 
No.  148. 

No.  149. 
No.  150. 

No.  151. 


No.  152. 
No.  153. 
No.  154. 
No.  155. 


A long,  narrow  knife  blade,  of  the  Third  Late  Minoan 
period,  from  a site  called  Kavousi.  Two  rivet  holes, 
one  rivet  in  place. 

A bronze  knife  blade,  of  the  First  Late  Minoan  period, 
from  Gournia.  This  blade  is  curved  and  flat.  It  was 
fastened  to  the  handle  by  two  rivets,  the  holes  for  which 
appear. 

Five  knife  blades,  the  one  with  the  dark  patina  from 
Pseira,  the  rest  from  Gournia,  and  all  of  the  First  Late 
Minoan  period.  In  all  of  these  examples  the  blades 
are  short  and  broad. 

A bronze  knife  blade,  which  is  datable  by  the  objects 
found  with  it,  in  the  Second  Early  Minoan  period.  This 
shows  that  as  far  as  these  knife  blades  are  concerned, 
there  was  little  progress  in  the  Minoan  civilization,  after 
the  use  of  bronze  became  general. 

A small  bronze  chisel,  from  Gournia,  of  the  First  Late 
Minoan  period. 

Four  chisels,  one  of  them  narrow,  one  of  them  heavy, 
thick  and  narrow,  the  other  two  broad  and  flat.  All 
come  from  Gournia,  and  belong  in  the  First  Late  Minoan 
period. 

A bronze  awl,  from  the  same  site,  and  of  the  same  period. 
A collection  of  six  bronze  needles,  of  various  sizes,  from 
Gournia,  and  of  the  First  Late  Minoan  period. 

A needle,  or  bodkin,  of  bone,  found  in  the  famous  Dic- 
taean  Cave  in  Crete.  It  is  impossible  accurately  to  date 
this  object,  but  it  is  probable  that  it  is  of  the  Third  Late 
Minoan  period. 

Two  small  bronze  objects,  a ring  and  a small  handle,  from 
the  same  site.  The  same  difficulty  as  to  the  date  of  these 
objects  exists  in  this  case,  as  in  the  case  of  No.  151. 

A thin  knife  blade,  about  three  inches  long,  of  bronze,  also 
from  the  Dictaean  Cave.  It  is  impossible  to  assign  a 
date  to  this  object. 

Two  fragments  from  bronze  saws,  of  the  First  Late  Minoan 
period,  one  from  Gournia,  the  other  from  a site  known  as 
Priniatiko  Pyrgo. 

A group  of  tweezers,  two  complete  pairs,  and  fragments  of 
one  other,  all  from  Gournia,  and  all  of  the  First  Late 


34 


MEDITERRANEAN  SECTION 


Minoan  period.  It  is  usually  believed  that  these  tweezers 
were  used  to  pluck  out  superflous  hairs. 

No.  156.  A fragmentary  knife  blade,  of  the  same  period,  from 
Priniatiko  Pyrgo. 

No.  157.  A collection  of  four  weaving  hooks  from  Gournia,  of  the 
same  period. 

No.  158.  A bronze  cup.  with  a handle,  very  thin,  and  badly  corroded, 
so  that  it  is  broken  in  many  pieces.  It  has  been  partly 
put  together,  and  restored  on  a frame.  It  was  found  at 
Gournia,  and  belongs  in  the  First  Late  Minoan  period. 

No.  159.  A collection  of  twenty-four  seal  stones,  of  the  Middle  and 
Late  Minoan  Ages.  The  intaglios  are  probably  Cretan 
pictographs;  but  at  present  this  Cretan  script  is  unknown 
to  us.  These  seals  come  from  various  sites,  and  were 
mostly  acquired  by  purchase,  and  not  found  in  the  exca- 
vations conducted  for  the  Museum. 

No.  160.  A bronze  piercer,  for  punching  holes  in  leather,  of  the 
First  Late  Minoan  period,  found  at  Gournia. 

No.  161.  A bar  of  lead,  from  Gournia. 

No.  162.  A bronze  nail,  from  the  same  site,  of  the  Late  Minoan  age. 

No.  163.  Six  nails  of  a later  period,  possibly  even  Roman,  found 
at  Vrokastro. 

No.  164.  Two  fish  hooks,  of  bronze,  of  the  Late  Minoan  epoch, 
one  from  Gournia,  and  one  from  Vrokastro. 

No.  165.  A pair  of  scale  pans,  of  the  same  period,  from  Gournia. 

Each  has  a slight  rim,  and  is  perforated  with  four  holes, 
for  the  chains  or  cords  that  attached  them  to  the  beam. 

No.  166.  A piece  of  sheet  bronze  from  Gournia. 

No.  167.  A small  ring  and  a small  bracelet,  both  of  bronze,  and 
both  spiral  in  form,  from  Gournia.  First  Late  Minoan 
period. 

No.  168.  A group  of  bronze  pins  of  the  Cretan  geometric  age,  from 
Vrokastro,  one  of  the  principal  sites  of  this  period.  They 
probably  date  around  the  year  1000  B.  C. 

No.  169.  A collection  of  four  fragmentary  fibulae,  or  brooches,  from 
Vrokastro.  These  are  of  bronze,  and  belong  in  the  Cretan 
geometric  period. 

No.  192.  Part  of  a brick,  of  the  kind  from  which  the  Minoans  built 
their  houses,  in  the  First  Late  Minoan  period.  From 
Gournia. 


35 


THE  UNIVERSITY  MUSEUM 


No.  193.  An  object,  generally  called  a table  of  offerings  of 
steatite.  It  has  been  much  restored,  only  a very  small 
part  of  it  being  original,  but  the  restoration  is  correct. 
It  has  a circular  top,  and  stood  originally  on  three  legs. 
First  Late  Minoan  period.  From  Gournia. 


OBJECTS  OF  THE  MINOAN  PERIOD  NOT  ON  EXHIBITION. 

No.  14B.  A plate,  of  the  Second  Early  Minoan  period,  of  red 
pottery,  approximating  the  Vasiliki  ware.  Found  at 
Sphoungaras. 

No.  15.  A fine  schnabelkanne,  or  beaked  pitcher,  of  Vasiliki  ware, 
from  Vasiliki. 

No.  20B.  A small  jug  of  characteristic  First  Middle  Minoan  make, 
with  dark  designs  on  a light  ground,  found  at  Sphoungaras. 
No.  27.  A pair  of  steatite  lamps,  one  on  a high  foot  from  Gournia, 
the  other,  on  a lower  foot,  from  Pseira.  First  Late 
Minoan  period. 

Nos.  53-66.  These  objects  are  domestic  utensils,  principally 
for  the  preparation  of  food-  some  of  them  are  of  stone,  but  most 
are  of  coarse  red  pottery.  Unless  expressly  so  stated,  all  of  these 
objects  were  found  at  Gournia,  and  are  properly  assigned  to  the 
First  Late  Minoan  period. 

No.  53.  A onehandled  cup,  of  coarse  red  clay,  from  Sphoungaras, 
made  in  the  Second  Early  Minoan  period. 

No.  54.  A small  jug  on  three  feet,  called  a tripod  jug,  and  used 
for  cooking. 

No.  56.  A twohandled  cup  of  coarse  clay,  from  Vasiliki,  made  in 
the  Second  Early  Minoan  period. 

No.  57.  A small  cup  on  three  low  feet,  probably  used  as  a measure. 
No.  58.  A group  of  three  cooking  pots,  each  of  which  is  on  three 
high  legs. 

No.  59.  Two  small  braziers,  or  fire  boxes. 

No.  64.  A double  vase  of  fine,  undecorated,  red  clay,  badly  broken. 
No.  65.  A cylindrical  vase,  or  support,  of  coarse,  whitish  clay, 
mended. 

No.  66.  A low  three  legged  basin  of  trachyte,  very  shallow,  and 
sometimes  called  by  archaeologists  a libation  table,  for 
want  of  a better  term. 


36 


MEDITERRANEAN  SECTION 


No.  135.  A standard,  of  limestone,  graded  in  steps,  dating  in  the 
First  Late  Minoan  period,  found  at  Gournia. 

No.  178B.  A side  spouted  jar  of  buff  clay,  with  a decoration  of 
bands,  and  a leaf  design.  It  has  been  put  together  from 
fragments,  and  much  is  missing.  It  has  two  horizontal 
side  handles,  and  a vertical  rear  handle.  It  was  found 
at  Pseira,  and  belongs  in  the  First  Late  Minoan  period. 

No.  193B  and  193C.  Two  objects,  generally  called  tables  of 
offerings  of  steatite.  They  have  been  much  restored, 
only  a part  of  each  being  original;  but  the  restoration 
is  correct.  They  had  a circular  top,  and  stood  originally 
on  three  legs.  They  come  from  Gournia,  and  belong  in 
the  First  Late  Minoan  period. 

No.  198.  A wide  mouthed  jar  of  buff  clay,  with  two  vertical  handles 
on  the  rim.  The  decoration  consists  of  a debased  octopus 
pattern  in  red.  This  vase  was  found  at  Vasiliki,  and 
belongs  in  the  Third  Late  Minoan  period. 

No.  199.  A small  skyphos,  or  bowl,  of  the  geometric  period  (1000- 
800  B.  C.),  from  Vrokastro,  the  finds  from  which  site  are 
nearly  all  of  this  post-Minoan  period.  It  is  of  buff  clay, 
covered  below  the  handles  with  a thin  red  wash,  and 
above  this,  between  the  handles,  panels,  decorated  with 
a design  of  quirks.  The  vase  has  been  put  together  from 
fragments,  and  much  is  missing. 

No.  200.  A skyphos  of  the  same  period,  also  from  Vrokastro.  In 
panels  between  the  two  handles  is  a decoration  of  vertical 
and  diagonal  lines.  The  vase  has  been  put  together  from 
fragments,  and  the  missing  parts  are  very  cleverly  restored. 

No.  201.  A pair  of  small  undecorated  cups,  on  small  feet,  and  with 
two  side  handles,  a type  very  commonly  found  on  sites 
of  the  geometric  period.  These  vases  also  come  from 
Vrokastro. 

No.  202.  A larger  cup  of  the  same  shape,  from  the  same  site,  and 
of  the  same  period.  It  is  of  buff  clay,  with  linear  designs 
in  red.  Put  together  from  fragments,  and  much  missing. 

No.  203.  A large  krater,  or  bowl,  also  from  Vrokastro,  and  of  the 
early  geometric  period,  sometimes  called  the  quasi-geo- 
metric period,  when  Late  Minoan  designs  still  are  found 
contending  with  the  geometric  for  the  mastery.  This 
specimen  is  put  together  from  fragments,  and  very  little 


37 


THE  UNIVERSITY  MUSEUM 


is  missing.  The  clay  is  buff  in  color,  and  the  decoration 
consists  of  horizontal  and  vertical  lines.  The  outer 

vertical  lines  are  decorated  with  a kind  of  fringe  pattern. 

No.  212.  A sarcophagus,  of  the  type  called  by  Minoan  archaeologists 
a larnax,  from  Gournia,  and  probably  belonging  in  the 
First  Late  Minoan  period.  It  is  of  coarse  red  clay 
and  is  undecorated.  The  body  of  the  sarcophagus  is 
covered  with  a heavy  whitish  wash,  while  the  lid  is  cov- 
ered with  a creamy  white  slip.  The  larnax  rests  on  four 
short,  heavy  feet,  and  is  fitted  with  six  small  loop  handles, 
two  on  each  side  and  one  at  each  end.  Of  these  all  but 
one  of  the  side  handles  are  preserved.  The  lid  is  high, 
and  tapers  away  from  the  sides  towards  the  top,  like  a 
roof.  It  also  is  fitted  with  small  loop  handles,  two  to 
each  side;  but  only  one  of  these  has  been  preserved. 
The  specimen  was  broken  and  has  been  mended  very 
skilfully. 


38 


ANTIQUITIES  FROM  CYPRUS. 


CYPRIOTE  SCULPTURE  AND  POTTERY. 

No.  56.  A stone  head.  6th  Century  B.  C. 

Case  V. 

This  and  Case  VII  are  devoted  to  antiquities  from  Cyprus. 
It  will  be  seen  that  this  island  developed  an  artistic  culture  peculiar 
to  itself,  distinct  both  from  that  of  Crete  and  the  subsequent  art  o 
the  mainland  of  Greece,  and  inferior  to  both.  At  the  time  that  the 
Minoans  in  Crete  were  at  the  height  of  their  skill  in  the  making  and 
decorating  of  their  beautiful  wheelmade  vases,  the  Cypriotes  were 
still  making  their  pottery  by  hand.  It  is  Cretan  colonists  or  refugees, 
who,  in  the  end  of  the  Late  Minoan  period,  bring  the  knowledge  of 
the  potter’s  wheel  to  Cyprus. 

The  chronology  of  the  art  of  this  island  is  divided  into  an  Early, 
Middle,  and  Late  Bronze  Age,  corresponding  very  closely  with  the 
Early,  Middle,  and  Late  Minoan  periods  in  Crete.  In  the  last  of 
these  epochs  (the  Late  Bronze  Age),  Cretan  and  Mycenaean  influence 
comes  in,  and  pottery  of  the  Mycenaean  type  prevails.  Then  follows 
an  Early  Iron  Age,  divided  into  three  periods;  the  transitional, 
or  early  period,  lasting  from  1200  to  1000  B.  C. ; the  geometric, 
or  middle,  from  1000  to  750  B.  C.;  and  the  Graeco- Phoenician, 
or  late,  from  750  to  500  B.  C.  After  these  periods  comes  the  Hellenic 
age,  lasting  to  the  reign  of  Alexander  the  Great;  which  is  followed, 
as  is  to  be  expected,  by  the  regular  Hellenistic  and  Roman  periods. 

No.  1.  Early  Bronze  Age  pottery  (3000-2000  B.  C.).  Five  speci- 
mens, all  but  one  of  which  are  ladles  of  red  ware,  with 
high  handles.  The  other  is  a jug  of  the  same  ware. 

No.  2.  Early  Bronze  Age  pottery.  Six  specimens,  principally  ladles, 
but  including  a large  bowl,  and  a cup  with  incised  orna- 
ments on  the  mouth. 

No.  3.  Four  Early  Bronze  Age  flasks  of  red  ware,  decorated  with 
lines  scratched  on  the  surface,  showing  that  the  early 
inhabitants  of  Cyprus  were  familiar  with  gourds,  and 
made  vases  in  imitation  of  them. 


39 


THE  UNIVERSITY  MUSEUM 

No.  4.  A large  pot,  with  a cover,  of  the  same  ware.  This  is  a piece 
of  unusual  shape,  and  is  a fine  specimen  of  this  incised  red 
ware. 

No.  5.  Twro  cups  of  the  same  ware. 

No.  6.  A small  flat  bottle  of  white  painted  ware,  the  commonest 
ware  of  the  Middle  Bronze  Age  (2000-1500  B.  C.).  The 
clay  is  cream  colored,  on  which  the  design  is  painted  in 
umber  paint,  of  black  or  brown,  which  in  this  case,  and  in 
the  cases  of  other  specimens  in  this  collection,  has  become 
brick  red  through  over  firing.  The  vases  of  this  class 
are  nearly  all  of  small  size. 

No.  7.  An  amphora  of  the  Middle  Bronze  Age,  of  characteristic 
shape  and  technique.  It  is  made  of  a light  clay  which  is 
completely  covered  with  a black  slip. 

No.  8.  A small  ladle  of  white  painted  ware. 

No.  9.  A small  jug  of  the  same  ware. 

No.  10.  Fragment  of  a four  bodied  flask,  of  the  same  ware;  the  four 
bodies  were  originally  joined  to  one  neck  at  the  top. 

No.  1 1.  A small  flask  of  the  same  ware,  of  a shape  characteristic  of 
this  style  of  pottery,  with  a long,  thin  neck  and  spout. 

No.  12.  A bowl  of  white  painted  ware. 

No.  13.  Part  of  a very  small  alabastron  of  white  painted  ware,  the 
design  in  this  case  being  in  brown. 

No.  14.  A small  flask  of  the  same  ware. 

No.  15.  A bottle  of  the  same  ware  with  designs  in  black. 

No.  16.  A small  pitcher  of  black  slip  ware,  made  in  the  Middle 
Bronze  Age  about  the  same  period  as  the  white  painted 
pottery. 

No.  17.  A bowl  of  red  clay,  with  a buff  slip,  decorated  with  linear  and 
wavy  designs  in  black,  which  has  in  places  turned  red  from 
overfiring.  It  is  hand  made,  and  dates  in  the  Middle 
Bronze  Age. 

No.  18.  A jug,  of  the  incised  red  slip  ware  of  the  Middle  Bronze 
Age,  which  was  the  logical  development  of  such  vases  as 
3,  4,  and  5. 

No.  19.  A small  bowl  of  white  painted  ware,  of  the  Middle  Bronze 
Age. 

Nos.  20-23.  Vases  of  white  slip  ware.  This  is  the  commonest 
pottery  of  the  Late  Bronze  period  in  Cyprus  (1500-1200 
B.  C.).  It  was  popular  not  only  in  Cyprus  itself,  but  was 


40 


MEDITERRANEAN  SECTION 

exported  to  many  other  places,  where  examples  of  it  have 
been  found.  It  is  hand  made,  the  use  of  the  wheel  being 
still  unknown.  The  vases  are  of  grey  or  slatecolored 
clay,  entirely  covered  with  a thick,  dead  white  slip.  In 
shape  and  decoration  they  are  intended  to  resemble  ves- 
sels of  leather,  the  black  vertical  design  being  in  imitation 
of  the  seams  sewn  to  stitch  two  skins  together.  This  ware 
is  supposed  to  be  late  in  the  Late  Bronze  Age,  about  con- 
temporaneous with  the  Third  Late  Minoan  period  in  Crete. 

No.  20.  A round  bowl  of  this  ware,  with  a side  handle. 

No.  21.  A jug  with  a wide  neck.  The  neck,  besides  being  wide,  is 
rather  long,  and  of  slightly  concave  form. 

No.  22.  A krater,  or  mixing  bowl,  in  excellent  preservation,  with  a 
fine  side  handle  preserved. 

No.  23.  A round  bowl,  with  side  handle. 

No.  24.  Vase  of  a technique  known  as  base  ring  ware,  made  in  the 
Late  Bronze  Age.  This  pottery,  like  the  white  slip 
ware  with  which  it  is  approximately  contemporaneous, 
was  exported  from  Cyprus  to  other  places,  notably 
Egypt.  In  Case  18  in  the  Egyptian  Section  of  this  Museum 
will  be  found  examples  of  vases  of  this  technique  found  in 
Egypt. 

No.  25.  Amphora  of  the  transitional  period  between  the  Mycenaean 
age,  and  the  geometric  age  (about  1200  to  1000  B.  C.). 
The  wavy  lines  on  the  body  from  handle  to  handle  are 
typical  of  this  epoch,  when  the  Mycenaean  and  geometric 
ornamentations  were  fighting  for  the  supremacy. 

No.  26.  A krater,  or  mixing  bowl,  with  fully  developed  geometric 
decoration.  The  use  of  red  adds  to  the  effectiveness  of  the 
ornamentation  of  the  vase.  This  is  an  example  of  the  best 
pottery  of  the  geometric  period,  1000-750  B.  C. 

No.  27.  A pitcher  of  the  fully  developed  geometric  style,  con- 
temporaneous with  the  krater  above  described,  and 
decorated  with  lines  and  concentric  circles. 

No.  28.  A small  amphora  of  Cypriote  geometric  ware. 

No.  29.  A most  interesting  specimen  of  Cypriote  geometric  ware,  a 
socalled  barrel  jug,  a shape  peculiar  to  that  island. 
It  is  not  only  peculiar  to  this  locality,  but  extremely 
common,  and  may  be  said  to  be  the  characteristic  shape 
of  Cypriote  pottery. 


41 


THE  UNIVERSITY  MUSEUM 

No.  30.  A pitcher,  with  a type  of  decoration  known  as  vertical 
circle  ornament,  and  belonging  in  the  Graeco-Phoenician 
period,  750-500  B.  C. 

No.  31.  A head  of  a man  in  stone.  This  represents  the  very  begin- 
ning of  sculpture  in  Cyprus,  and  belongs  in  the  ninth  or 
eighth  centuries  B.  C. 

No.  32.  Another  male  head  of  a somewhat  later  date,  belonging 
possibly  in  seventh  century  B.  C. 

No.  33.  Head  of  a youth,  belonging  in  the  sixth  century  B.  C.,  and 
therefore  the  latest  of  the  three. 

No.  34.  A pair  of  pitchers,  in  imitation  of  bucchero  ware.  The 
archaeologist  ordinarily  thinks  of  bucchero  in  connection 
with  the  Etruscans,  who  brought  the  pottery  of  this 
type  to  its  highest  stage  of  perfection.  But  the  Cypriotes 
also  were  familiar  with  this  kind  of  pottery,  and  manu- 
factured a red  bucchero  ware  as  well  as  a black.  They 
were  made  in  the  transitional  period,  1200-1000  B.  C. 

No.  35.  A bowl,  of  similar  ware,  of  the  same  period. 

No.  36.  A small  wheelmade  cup  of  unpainted  white  ware.  As  we 
have  no  knowledge  of  the  other  objects  found  with  this  vase, 
it  is  impossible  to  fix  its  date. 

No.  37.  Small  kylix  of  Cypriote  geometric  ware  (1000-750  B.  C.), 
decorated  with  concentric  circles. 

No.  38.  Pitcher  of  the  Graeco-Phoenician  period  (750-500  B.  C.). 

Its  decoration  is  of  the  plain  bodied  type  common  in  that 
epoch  of  Cypriote  culture. 

No.  39.  A group  of  vases,  thirteen  in  number,  mostly  of  the  same 
period.  Of  these,  ten  are  of  the  red  painted  ware  so 
characteristic  of  the  Graeco-Phoenician  period,  while  the 
other  three  are  small  flasks  and  barrel  jugs  of  white 
painted  ware  of  the  preceding  period. 

No.  40.  Terracotta  group  of  animals  (a  squirrel  and  her  young), 
hand  made,  without  the  use  of  a mould,  in  the  so  called 
snow  man  technique,  which  will  be  described  in  studying 
the  rest  of  the  terracottas  in  Case  VII.  Figures  of  this 
sort  are  typical  of  the  transitional  and  geometric  periods 
of  the  Early  Iron  Age,  1200-750  B.  C. 

No.  41.  A bowl  of  the  Early  or  Middle  Bronze  Age,  of  a very  light 
clay,  made  in  imitation  of  basketwork. 


42 


MEDITERRANEAN  SECTION 


No.  42.  A vase  of  red  pottery,  possibly  a small  brazier,  for  warming 
a room.  This  was  probably  made  in  the  transitional,  or 
geometric  period  of  the  Early  Iron  Age. 

No.  43.  A pitcher  of  the  Hellenic  period  (500-350  B.  C.),  showing  the 
entrance  of  Greek  influence,  and  the  degeneration  of  the 
native  ceramic  art. 


CYPRIOTE  TERRACOTTAS  AND  BRONZE  OBJECTS. 
Case  VII. 

In  this  case  is  exhibited  a small  collection  of  minor  objects  of  the 
art  of  Cyprus,  and  of  implements  of  daily  use  in  the  various  periods  of 
culture  in  that  island.  These  objects  embrace  terracotta  figurines, 
spindle  whorls,  and  ornaments;  bronze  knife  blades,  needles,  and 
other  implements;  and  a few  fragments  of  silver  ornaments. 

The  numbers  between  44  and  69,  both  inclusive,  are  terracotta 
figurines.  This  collection  illustrates  very  well  the  archaic  periods, 
from  prehistoric  times  to  about  750  B.  C.  There  are  also  a few  of 
later  date,  which  bring  the  latest  date  to  about  550  B.  C.;  but  there 
are  none  which  can  lay  claim  to  be  later  than  that.  The  collection  is 
especially  rich  in  the  very  earliest  style,  which  belongs  in  the  Early 
Bronze  Age,  contemporaneously  with  the  vases  Nos.  3,  4,  and  5,  in 
Case  VI. 

No.  44.  Fragment  of  a statuette  of  a human  figure,  of  red  polished 
ware,  roughly  modeled  as  a flat  slab  of  clay.  It  is  deco- 
rated with  incisions  to  represent  drapery,  and  holes 
punched  into  the  clay,  which  is  of  a light  color,  and  covered 
with  the  polished  red  slip. 

No.  45.  A similar  figurine  of  a woman.  The  former  one  in  all 
probability  is  also  of  a woman,  but  there  is  nothing  to 
indicate  the  sex.  Here  the  breast  is  represented  as  bare, 
but  above  and  below  are  incisions  similar  to  those  in  No. 
44,  but  cruder,  probably  to  represent  drapery.  Some 
attempt  is  also  made  to  portray  the  head. 

No.  46.  Crude  figurine  of  a woman,  of  the  same  period.  She  is 
represented  as  nude.  Part  of  the  head  is  lost,  but  there 
remain  the  rough  portrayal  of  the  mouth,  one  ear,  and  part 
of  the  nose.  Her  hands  rest  on  her  body  below  the  breasts, 


43 


THE  UNIVERSITY  MUSEUM 

and  the  navel  is  indicated  by  an  indentation,  just  below 
which  the  figurine  ends. 

No.  47.  Fragment  of  a figurine  of  red  polished  ware,  of  the  same 
period  (3000-2000  B.  C.)  with  incised  decoration.  The 
fragment  is  made  of  two  pieces,  which  fit  together.  There 
is  no  indication  of  the  sex,  but  it  was  probably  female. 

No.  48.  Another  figurine  of  the  same  red  polished  ware,  moulded  in 
the  form  of  a slab.  One  arm  is  represented  as  extended. 

No.  49.  Fragment  of  a figurine  of  the  same  type. 

Dussaud,  Civilizations  Prehelleniques,  p.  367,  Fig. 
272,  No.  1. 

No.  50.  Fragment  of  a similar  figurine.  The  head  is  preserved,  with 
the  eyes  indicated  by  two  holes.  The  nose,  nostrils,  and 
mouth  are  also  shown.  At  the  sides  are  crude  repre- 
sentations of  ears.  Around  the  neck  is  a necklace.  The 
hands,  as  is  usual  with  these  figurines,  rest  on  the  body, 
below  the  breasts,  and  there  are  some  incised  designs  above 
to  indicate  drapery. 

Dussaud,  Civilizations  Prehelleniques,  p.  367,  Fig. 
272,  No.  2. 

No.  51.  Small  fragment  of  a figurine,  of  the  same  period,  with  the 
hands  on  the  body. 

No.  52.  Fragmentary  statuette  of  a woman,  of  the  snow  man 
technique,  so  called  on  account  of  the  crude  method  of 
execution.  It  is  to  be  noticed,  however,  how  much  better 
modeled  the  head  is  than  in  the  specimens  already 
described.  This  statuette  belongs  early  in  the  period 
between  1200  and  750  B.  C.,  and  is  possibly  of  Aphrodite. 
It  is  said  to  have  been  found  in  the  Sacred  Grove  of  that 
goddess,  at  Salamis  in  Cyprus. 

No.  53.  Figure  of  a camel,  in  solid  red  clay.  This  interesting  speci- 
men seems  to  belong  in  the  Early  Iron  Age,  and  may  be 
thought  of  as  having  been  made  under  the  influence  of  the 
snow  man  technique. 

No.  54.  Head,  shoulders,  and  back  of  a ram,  in  soft  stone.  This 
interesting  little  piece  of  sculpture  was  probably  made  in 
the  period  between  the  eighth  and  sixth  centuries  B.  C. 
The  head  and  horns  are  rendered  with  great  naturalism. 

No.  55.  This  little  shrine  in  pottery  is  one  of  the  most  remarkable, 
if  not  the  most  remarkable,  object  in  the  collection  of 


44 


MEDITERRANEAN  SECTION 


antiquities  from  Cyprus.  It  is  said  to  have  been  found  in 
a tomb  of  the  geometric  or  Graeco-Phoenician  period,  at 
Amathus  in  Cyprus.  It  is  of  note  from  the  resemblance 
which  it  bears  to  shrines  found  in  deposits  of  the  Sumerian 
period  in  Babylonia.  A very  famous  example,  found  at 
Nippur,  and  now  in  the  Babylonian  Section  of  this  Museum, 
bears  very  striking  resemblances  to  this  specimen.  It  is 
quite  certain  that  this  little  shrine  is  not  native  to  Cyprus, 
but  is  rather  an  importation  from  Phoenicia.  The  image 
within  the  shrine  would,  therefore,  probably  be  that  of 
the  goddess  of  fertility,  Astarte,  who  was  often  represented 
as  a snake  goddess,  as  in  this  case. 

No.  56.  Miniature  figurine  of  a goddess,  of  the  same  period  as  No. 

48,  and  closely  resembling  that  object,  but  very  much 
smaller. 

No.  57.  Head  of  a divinity,  of  base  ring  ware,  the  characteristic 
Late  Bronze  Age  style  of  terracottas  (1500-1200  B.  C.). 

No.  58.  A pottery  spoon,  of  the  Middle  Bronze  Age  (2000-1500 
B.  C.). 

No.  59.  Figurine  of  a bird,  of  the  snow  man  technique,  1200-750 
B.  C.  A very  fine  specimen,  with  outstretched  wings. 

No.  60.  The  lower  part  of  a figurine  of  white  painted  ware,  of  the 
Middle  Bronze  Age  (2000-1500  B.  C.),  showing  merely  the 
legs  and  feet. 

No.  61.  Figurine  of  a chariot  of  the  snow  man  technique,  of  coarse 
pinkish  clay,  with  red  and  black  polychrome  decoration. 
The  wheels  are  missing,  and  in  front  is  a hole  for  the 
insertion  of  a pole.  This  fragment  is  typical  of  Cypriote 
geometric  work  in  terracotta. 

No.  62.  A statuette  of  a bird,  in  the  snow  man  technique,  hand 
modeled  without  the  use  of  a mould.  It  appears  to  be  a 
dove.  The  wings,  which  are  closed,  are  indicated  by  black 
lines. 

No.  63.  Fragmentary  solid  figurine  of  a bird,  of  incised  red  clay,  of 
the  Middle  Bronze  Age  (2000-1500  B.  C.). 

No.  64.  Head  of  an  animal,  of  base  ring  ware.  Late  Bronze  Age 
(1500-1200  B.  C.). 

No.  65.  Statuette  of  a cow,  in  a style  akin  to  the  snow  man 
technique,  with  designs  in  black.  Cypriote  geometric 
period  (1000—750  B.  C.). 


45 


THE  UNIVERSITY  MUSEUM 


No.  66.  Head  of  a small  stone  statuette  of  a woman,  of  the  late  sixth 
century  B.  C.,  found  at  a site  called  Bumo  in  Cyprus. 

No.  67.  Torso  in  relief  of  a woman,  nude,  with  a disclike  object  in 
her  right  hand,  which  rests  across  her  body,  under  the 
bosom.  Around  her  neck  is  a necklace.  From  the 
quality  of  the  modeling,  it  seems  to  belong  in  the  fifth 
century  B.  C.  It  was  found  at  Salamis,  in  Cyprus. 

No.  68.  Head  of  Hathor,  of  pottery,  of  which  traces  of  the  original 
green  glaze  still  exist.  This  object  was  an  importation 
from  Egypt,  and  is  probably  of  the  seventh  century  B.  C. 
No.  69.  Fragment  of  a human  foot,  from  the  base  of  a statue  of 
about  two  thirds  life  size.  On  the  toes  are  rings.  The 
excellent  workmanship  points  to  this  being  made  in  the 
fifth  century  B.  C. 

The  numbers  70-77,  both  inclusive,  are  devoted  to  a small 
collection  of  bronze  and  iron  objects  of  various  periods  in  Cypriote 
culture.  As  is  well  known,  Cyprus  is  by  nature  very  rich  in  copper 
and  iron  ore.  The  actual  working  of  iron,  however,  does  not  begin 
until  about  1000  B.  C.,  while  the  art  of  working  copper  came  in 
with  the  knowledge  of  pottery.  There  seems  to  be  no  pure  Stone 
Age  period  in  Cyprus,  although  stone  implements  occur. 

The  first  metal  objects  are  nearly  all  of  pure  copper,  and  it  is 
interesting  to  note  the  gradual  addition  of  tin  to  form  bronze,  and 
give  hardness  to  the  blades,  in  the  case  of  daggers,  and  to  prevent 
bending  in  the  case  of  needles,  tweezers,  and  other  such  objects. 

No.  70.  Fragment  of  a scraper,  used  by  women  to  scrape  paste,  of 
the  Early  Bronze  Age. 

No.  71.  Three  fragments  of  bronze  tweezers,  of  the  same  period. 

It  seems  probable  that  in  this  period  men  used  these  to 
remove  superfluous  hair,  as  Cyprus  had  no  fine  flint,  as 
did  Egypt,  nor  obsidian,  to  use  for  shaving. 

No.  72.  A scraper,  of  iron,  of  the  Early  Iron  Age. 

No.  73.  A collection  of  blades  of  the  earliest  period.  These  are 
flat,  or  with  a very  slight  midrib,  and  were  fastened,  either 
to  a cleft  stick,  or  to  a hilt,  by  means  of  two  or  three 
rivets.  The  use  of  a tang  comes  later.  Some  of  these 
blades  are  of  pure  copper;  and,  in  nearly  all,  the  alloy  of 
tin  is  very  slight,  and  merely  in  the  experimental  stage. 


46 


MEDITERRANEAN  SECTION 


No.  74.  Bronze  dagger  of  a later  period.  The  two  pieces  join 
together.  Notice  the  pronounced  midrib,  and  the  curved 
tang  which  was  inserted  in  the  hilt.  This  is  a fine  specimen 
of  the  bronze  work  of  the  Middle  Bronze  Age. 

No.  75.  A fragment  of  a similar  blade,  of  the  same  period. 

No.  76.  Spearheads  of  the  Late  Bronze  Age.  With  the  Mycenaean 
colonizaton  of  Cyprus,  which  comes  in  this  period,  came 
the  introduction  of  the  art  of  making  perfect  bronze  with 
the  full  proportion  of  tin.  In  consequence,  the  art  of 
making  spearheads  with  a socket,  as  in  the  case  of  these 
specimens,  is  introduced. 

No.  77.  A flat  celt,  for  an  axe,  of  the  Middle  Bronze  Age. 

The  numbers  78-84,  both  inclusive,  are  given  to  a collection 

of  beads  and  spindle  whorls,  principally  of  the  earlier  periods  of 

Cypriote  culture.  Of  these,  those  in  clay  antedate  the  ones  of 

stone  or  other  materials. 

No.  78.  A group  of  twenty  five  clay  spindle  whorls,  of  the  Bronze 
Age,  many  of  them  with  incised  patterns.  In  general,  it 
can  be  safely  said  that  the  red  ones  are  the  earlier,  the 
black  ones  the  later  in  this  group. 

No.  79.  Five  stone  whorls  of  the  Late  Bronze  Age.  At  this  time 
pottery  whorls  disappear  from  use. 

No.  80.  A collection  of  seven  beads  or  small  spindle  whorls  of 
pottery,  belonging  in  the  Early  or  Middle  Bronze  Age 
periods. 

No.  81.  A group  of  similar  large  beads,  or  small  spindle  whorls,  of 
soapstone  or  steatite,  belonging  in  the  Late  Bronze  Age. 

No.  82.  Two  flat  whorls  of  highly  polished  stone,  belonging  in  the 
transitional  period. 

No.  83.  A large  glass  bead,  probably  an  importation  from  Egypt,  of 
Graeco-Roman  times. 

No.  84.  A green  glaze  bead,  either  an  Egyptian  importation,  or  a 
Cypriote  imitation  of  Egyptian  work.  In  any  case,  it 
belongs  in  what  is  known  as  the  Cypro-Mycenaean 
period  in  the  Late  Bronze  Age — that  time  when  the 
colonists  (or  possibly  refugees)  from  Crete  began  to  arrive 
in  Cyprus. 

No.  85.  Small  cylindrical  bead  of  the  same  form  of  pottery,  with  the 
surface  worn  off. 


47 


THE  UNIVERSITY  MUSEUM 


No.  86.  Two  pendant  ornaments,  one  of  pottery,  one  of  polished 
stone,  belonging  to  the  Late  Bronze  Age. 

No.  87.  A very  small  whetstone,  a curious  specimen. 

No.  88.  Large  whetstone  of  Bronze  Age  times,  of  a soft  white  stone, 
perforated  at  one  end,  to  be  hung  by  a string  or  thong. 

No.  89.  Stone  celt  for  an  axe  head,  of  the  Early  Bronze  Age. 

In  Nos.  90-97,  both  inclusive,  is  to  be  found  another  series  of 

bronze  objects,  of  all  periods.  Most  of  these  implements  are  of 

the  later  epochs  of  the  culture  of  Cyprus;  but  there  is  a series  of  awls 

that  seems  to  go  into  the  Early  Bronze  Age  times. 

No.  90.  A distaff,  of  bronze,  dating  in  the  Late  Bronze  Age.  This 
is  a very  rare  and  unusual  specimen,  from  an  archaeological 
point  of  view. 

No.  91.  The  upper  half  of  a bronze  nail  of  the  transitional  period. 

The  fine  patina  should  be  noticed,  otherwise  the  specimen 
is  common,  as  quantities  of  these  nails  are  found  in  excava- 
tions in  Cyprus. 

No.  92.  A spatula  of  bronze,  of  the  Hellenistic  period. 

No.  93.  Another  spatula,  of  somewhat  different  shape,  of  the  same 
period,  or  a little  later. 

No.  94.  A chisel,  of  the  Early  Bronze  Age. 

No.  95.  Two  needles,  of  the  same  period. 

No.  96.  Three  awls,  of  the  Early  or  Middle  Bronze  Ages. 

No.  97.  An  iron  nail,  of  the  Early  Iron  Age. 

No.  98.  This  is  a very  rare  specimen.  It  is  a seal,  of  clay,  very  few 
of  which  have  been  found  in  Cyprus.  From  the  crudity 
of  the  design,  it  dates  very  early  indeed,  probably  in  the 
Early  Bronze  Age. 

No.  99.  A small  bronze  mirror,  of  the  Hellenistic  period  in  Cyprus. 

It  is  a small,  heavy  disc  of  cast  and  turned  bronze,  with  no 
tang  or  handle.  It  is  undecorated. 

No.  100.  Two  fragments  of  a silver  fibula,  or  brooch,  of  the  Early 
Iron  Age. 

No.  101.  A highly  polished  stone  hammer  head,  of  the  Early  Bronze 
Age. 

No.  102.  Six  bronze  rings,  or  small  bracelets. 

No.  103.  A large  group  of  small  bronze  and  silver  ornaments  of 
different  kinds. 

No.  104.  A collection  of  thirty  one  Roman  weights,  of  various  sizes. 


48 


MEDITERRANEAN  SECTION 


These  weights  are  made  with  much  care,  and  are  care- 
fully graded.  Although  we  know  them  to  be  Roman,  the 
exact  date  of  their  manufacture  is  uncertain.  Some  of 
them  have  inscriptions  giving  the  weight  represented, 
and  on  one  is  a Roman  name.  They  form  an  interesting 
subject  for  study. 


49 


GREEK  VASES 


Cases  VI,  VII,  IX-XIII,  XV,  XXXV. 

These  cases  give  a very  complete  and  representative  collection  of 
Greek  pottery.  The  earliest  examples  are  of  the  geometric  type, 
with  decorations  of  a geometric  nature  on  a buff  ground.  Of  these 
the  most  interesting  are  the  Attic  dipylon  vases,  of  which  the 
Museum  possesses  one  important  example — No.  126,  at  present  in 
the  West  Room,  Case  XXVI.  Other  geometric  vases  will  be  found 
in  Case  X.  These  vases  were  made  in  the  eighth  century  B.  C. 
Next  in  our  series  come  the  Corinthian  vases,  the  manufacture  of 
which  began  a century  later,  and  which  may  be  found  in  Cases  X, 
XI,  and  VI.  These  are  divided  into  two  styles — the  proto- 
Corinthian  and  Corinthian.  A few  proto-Corinthian  vases  will  be 
found  in  Case  XI,  while  the  most  important  Corinthian  specimens 
are  in  Case  VI.  The  difference  between  the  proto-Corinthian  and 
the  Corinthian  techniques  is  that  the  former  are  usually  very  small 
vases  of  egg  shell  clay,  decorated  either  with  painted  linear  designs, 
or  with  very  delicate  incised  decoration;  while  in  the  latter  class, 
the  clay  is  coarser  and  heavier,  the  size  of  the  vases  is  larger  as  a 
rule,  and  the  decoration  is  usually  composed  of  bands  of  animals, 
with  a profusion  of  rosettes  and  other  oriental  ornaments,  the  details 
of  which  are  brought  out  by  a copious  use  of  incised  lines. 


GEOMETRIC  AND  CORINTHIAN  VASES. 

Case  X. 

No.  1A.  A small  pitcher,  or  oenochoe,  with  geometric  decorations  in 
red  on  a buff  ground.  Found  at  Vulci  in  Etruria. 

Accession  No.  MS701.  Height,  6.1  cm. 

No.  IB.  A similar  pitcher,  from  Attica,  acquired  by  exchange  with 
the  National  Museum  in  Athens.  The  designs  are  in  black. 

Accession  No.  MS5286.  Height,  9.4  cm. 

No.  2.  A bow'l,  with  vertical  looped  handles.  Geometric  designs  in 
red  on  a buff  ground.  Acquired  by  exchange  with  the 
National  Museum  in  Athens. 

Accession  No.  MS5290.  Height,  14.3  cm.;  diam- 
eter, 15.7  cm. 


50 


MEDITERRANEAN  SECTION 


No.  3.  A toilet  box,  or  pyxis,  of  geometric  ware,  found  in  Attica, 
but  resembling  the  Boeotian  style  of  geometric  vases. 
Acquired  by  exchange  with  the  National  Museum  in 
Athens. 

Accession  No.  MS5288.  Height,  7.5  cm.;  diameter, 

8.5  cm. 

No.  133.  A Corinthian  pyxis,  or  toilet  box,  with  a cover,  decorated 
with  a frieze  of  panthers,  birds,  and  a siren,  ranged  on  each 
side  of  a complicated  ornament  composed  of  lotus  buds  and 
palmettes.  The  provenance  is  unknown.  Acquired  1918. 

Accession  No.  MS5482.  Height,  11.9  cm.;  diam- 
eter, 16.3  cm.  E.  F.  R(ambo),  Museum  Journal,  X,  1919, 
p.  14,  Fig.  5. 

No.  4.  A pyxis  of  Attic  geometric  ware,  of  the  dipylon  style. 

Provenance  unknown.  The  pyxis  has  a cover  with  a 
large  knob,  or  handle. 

Accession  No.  MS411.  Height,  14.3  cm.;  diameter, 

16.4  cm. 

No.  5.  A small  round  aryballos,  or  oil  jug,  from  Vulci,  of  Corinthian 
ware. 

Accession  No.  MS700.  Height,  6.7  cm.,  diameter, 

5.6  cm. 

No.  6.  A pyxis  of  proto-Corinthian  ware,  on  three  high  feet,  deco- 
rated with  wavy  lines,  and  checkerboard  pattern  in  brown 
on  a buff  ground.  The  provenance  is  unknown. 

Accession  No.  MS2732.  Height,  17.5  cm.;  diameter, 

15.4  cm.  Furtwangler,  Sitzungsberichte  der  Akademie  zu 
Miinchen,  1905,  p.  255,  No.  8. 

No.  7.  A small  bowl  of  Corinthian  ware,  found  at  Vulci. 

Accession  No.  MS707.  Height,  3.6  cm.;  diameter, 

7.7  cm. 

No.  8.  A group  of  three  proto-Corinthian  lekythoi  in  the  form  of 
animals;  one,  a rabbit  (Accession  No.  MS702;  from 
Vulci),  one,  a ram  (Accession  No.  MS3494;  from  Rhodes), 
and  the  third,  a kneeling  deer  (Accession  No.  MS558;  from 
Vulci) . 

No.  9.  A group  of  three  proto-Corinthian  ringshaped  vases,  for  oil 
or  perfume,  all  from  Vulci. 

Accession  Nos.  MS559,  MS560,  and  MS699.  Diam- 
eters, 7,  10,  and  6 cm.  respectively. 


51 


THE  UNIVERSITY  MUSEUM 


PROTO-CORINTHIAN  AND  CORINTHIAN  VASES. 

Seventh  and  Sixth  Centuries  B.  C. 

Case  XI. 

No.  10.  A group  of  three  small  proto-Corinthian  lekythoi,  which 
were  used  for  holding  oil. 

A.  A small  lekythos  with  a decoration  of  brown  lines  on  a 

creamcolored  slip,  said  to  have  come  from  Athens. 

Accession  No.  MS393.  Height,  7.1  cm. 

B.  A specimen  of  somewhat  larger  size,  with  heavy  purple 

bands  around  the  body,  and  linear  designs.  Found 

at  Vulci  in  Etruria. 

Accession  No.  MS703.  Height,  10  cm. 

C.  Similar  in  shape  and  design  to  B,  but  slightly  smaller, 

also  from  Vulci. 

Accession  No.  MS704.  Height,  9.7  cm. 

No.  1 1.  Two  small  flasks,  or  alabastra,  of  the  same  ware. 

A.  A very  small  specimen,  with  reddish  bands  on  a cream- 

colored  slip,  and  a central  frieze  of  running  animals. 

Found  at  Narce  in  Etruria. 

Accession  No.  MS741.  Height,  9.4  cm. 

B.  A larger  example,  with  a decoration  of  dots  and  horizontal 

stripes  of  brown  and  purple.  Provenance  not  known. 

Accession  No.  MS5279.  Height,  12.1  cm. 

No.  12.  A cup  of  Corinthian  ware,  on  a high  stem,  decorated  with 
bands  of  animals.  Found  at  Orvieto,  and  put  together 
from  fragments. 

Accession  No.  MS4837.  Height,  14.8  cm.;  diam- 
eter, 15.2  cm. 

No.  1 2B.  A small  dish  on  three  feet,  of  Corinthian  ware,  of  unknown 
provenance,  with  decorations  in  red  on  a buff  slip. 

Accession  No.  MS266.  Height,  4.8  cm. ; diameter, 
10.1  cm. 

No.  13.  A Corinthian  bowl,  with  a decoration  of  a band  of  swans 
around  the  shoulder.  Provenance  unknown. 

Accession  No.  MS2759.  Height,  6.3  cm.;  diameter, 
10.6  cm. 

No.  14.  A covered  jar,  found  at  Vulci  in  Etruria,  of  Italo-Corinthian 
ware,  or  ware  made  in  Italy  in  imitation  of  the  Corinthian 


52 


MEDITERRANEAN  SECTION 


ware,  in  the  sixth  century  B.  C.  Decorated  with  bands 
of  brown  on  the  buff  clay. 

Accession  No.  MS646.  Height,  14.7  cm.;  diameter, 
15.8  cm. 

No.  15.  An  alabastron,  or  oil  flask,  of  Corinthian  or  Italo-Corin- 
thian  ware,  with  horizontal  stripes  of  brown  and  purple, 
and  a central  frieze  of  running  animals,  similar  to  that  on 
No.  11A.  Provenance  unknown. 

Accession  No.  MS4803.  Height,  17.3  cm.;  diam- 
eter, 6.9  cm. 

No.  16.  Another  covered  jar,  like  No.  14,  of  Italo-Corinthian  ware, 
decorated  with  brown  horizontal  stripes  on  a cream 
colored  slip.  Found  at  Vulci  in  Etruria. 

Accession  No.  MS645.  Height,  15.4  cm.;  diameter, 
15.7  cm. 

No.  17A.  A proto-Corinthian  skyphos,  or  small  drinking  cup,  found 
at  Narce  in  Etruria,  and  decorated  with  linear  and  animal 
designs  in  red  on  a buff  ground. 

Accession  No.  MS1314.  Height,  8.6  cm.;  diameter, 
10.4  cm. 

No.  17B.  A Corinthian  skyphos,  showing  the  difference  between 
that  technique  and  the  proto-Corinthian.  Found  at  Vulci, 
and  decorated  with  a frieze  of  birds. 

Accession  No.  MS620.  Height,  6 cm.;  diameter, 
12.1  cm. 

No.  18.  A large  globular  jug,  of  the  type  called  an  aryballos,  of 
Corinthian  ware,  with  a solid  brown  band  on  the  body. 
Found  at  Vulci. 

Accession  No.  MS709.  Height,  13.6  cm.;  diameter, 
12.3  cm. 

No.  19.  A Corinthian  skyphos,  said  to  have  been  found  in  Cyprus, 
decorated  with  a band  of  animals. 

Accession  No.  MS295A.  Height,  10.1  cm.;  diam- 
eter, 16.1  cm. 


53 


THE  UNIVERSITY'  MUSEUM 


CORINTHIAN  AND  ITALO-CORINTHIAN  VASES. 

Seventh  and  Sixth  Centuries  B.  C. 

Case  VI. 

Corinthian  vases  can  be  distinguished  from  their  Italic  imita- 
tions by  the  color  of  the  clay,  by  the  superiority  in  design,  by  the 
greater  use  of  incised  line  drawing  for  details  of  the  figures,  and  by 
the  greater  crowding  of  ornamentation,  which  is  typical  of  the 
Corinthian  pottery  of  the  seventh  century  B.  C.  This  is  thought 
to  show  the  influence  in  Corinth  of  her  trade  relations  with  Asia 
Minor,  and  this  pottery,  with  animal  decoration,  rosettes,  and  all 
manner  of  filling  ornaments,  is  often  called  orientalizing  ware. 

No.  21 . A pair  of  Italo-Corinthian  jugs,  or  olpae,  with  identical  deco- 
ration of  brown  and  purple  bands,  a tongue  pattern  on 
the  shoulder,  and  a crude  incised  decoration  called  a 
scale  pattern.  Found  at  Vulci  in  Etruria. 

Accession  Nos.  MS647  and  MS648.  Heights,  21.6 
and  20.3  cm.  respectively. 

No.  22.  A pair  of  Italo-Corinthian  alabastra,  or  flasks,  from  Vulci 
in  Etruria,  with  identical  decorations  of  two  friezes,  one 
of  animals,  and  one  of  birds.  This  decoration,  in  imita- 
tion of  the  Corinthian  vases,  shows  less  oriental  influence, 
and  a noticeable  lack  of  incised  line  drawing. 

Accession  Nos.  MS710  and  MS711.  Heights,  24.7 
and  24.5  cm.  respectively. 

No.  23.  A pitcher,  or  oenochce,  of  Corinthian  ware,  from  Vulci. 

On  the  shoulder  is  a carefully  incised  scale  pattern,  and 
below  the  neck  is  an  equally  careful  tongue  pattern. 
Around  the  body  an  orientalizing  band  of  animals  was 
drawn,  but  this  is  much  worn  away. 

Accession  No.  MS642.  Height,  25.5  cm. 

No.  24.  A pair  of  Italo-Corinthian  skyphoi,  or  cups,  decorated  with 
bands  of  swans,  very  carelessly  drawn. 

Accession  Nos.  MS639  and  MS640.  Heights,  8.6 
and  8.2  cm.  respectively;  diameters,  15.3  and  14.2  cm. 
respectively. 

No.  25.  An  olpe  of  characteristic  Corinthian  ware.  Notice  the 
oriental  influence  shown  in  the  sphinxes  and  other 
animals  that  are  drawn  in  a band  around  the  body.  The 


54 


MEDITERRANEAN  SECTION 


oriental  influence  is  also  shown  in  the  wealth  of  decoration 
in  the  form  of  rosettes  of  various  sizes,  crowded  into  every 
available  space,  with  a typical  horror  vacui.  The 
presence  of  incised  lines  for  accentuating  details  is  also 
characteristic,  and,  last  of  all,  the  clay  is  of  the  color  usual 
in  the  true  Corinthian  vases. 

Accession  No.  MS2523.  Height,  31  cm.  Formerly 
in  the  Coleman  collection;  said  to  come  from  one  of  the 
Greek  Islands. 

No.  26  A pair  of  Italo-Corinthian  olpae,  of  identical  shape  and 
decoration,  undoubtedly  made  by  the  same  hand,  on  the 
same  day.  The  glaze  and  designs,  which  should  have 
been  in  black,  have  turned  red  from  overfiring.  The 
decoration  takes  the  form  of  bands  of  palmettes  and 
lotuses,  incised.  Found  at  Vulci  in  Etruria. 

Accession  Nos.  MS643  and  MS644.  Heights,  30  and 
28.2  cm.  respectively. 

No.  27.  A pair  of  Italo-Corinthian  skyphoi,  similar  in  shape  and 
design  to  No.  24.  Very  poor  execution.  Found  at  Vulci. 

Accession  Nos.  MS556  and  MS557.  Heights,  8.7 
and  8.9  cm.  respectively;  diameters,  14.6  and  14.5  cm. 

No.  28.  An  Italo-Corinthian  olpe.  This  vase  is  made  in  direct 
imitation  of  the  Corinthian  style,  as  shown  on  such  vases 
as  25,  or  29,  30  or  31,  described  below.  The  imitation 
can  be  distinguished  from  the  true  Corinthian  ware  by  the 
color  of  the  clay,  which  is  somewhat  darker,  and  which, 
moreover,  is  dull,  not  lustrous,  as  with  the  Greek  vases, 
and  by  the  lack  of  incised  line  drawing,  in  which  the  true 
Corinthian  technique  is  rich.  This  decoration  is  in  four 
friezes  of  animals,  lions,  swans  and  deer  being  on  all  of 
the  friezes.  Found  at  Vulci. 

Accession  No.  MS551.  Height,  39.8  cm. 

No.  29.  A pair  of  alabastra  of  true  Corinthian  ware,  from  Vulci, 
mended  from  fragments.  They  are  decorated  with  three 
friezes  of  human  figures,  facing  the  right,  with  the  entire 
ground  filled  with  rosettes  and  other  ornaments.  They 
have  been  exhibited  next  to  No.  28  to  accentuate  the 
difference  between  the  true  Corinthian  and  the  contem- 


55 


THE  UNIVERSITY  MUSEUM 


porary  Italic  imitation.  The  design  is  the  same  on  both 
vases. 

Accession  Nos.  MS554  and  MS555.  Heights,  28.4 
and  27.8  cm.  respectively. 

No.  30.  A Corinthian  amphora,  found  at  Vulci,  decorated  with  a 
design  of  rosettes  in  white  on  the  neck,  which  is  covered 
with  a brown  wash.  On  the  shoulder  are  panels,  the  same 
on  either  side,  showing  five  figures,  two  seated  and  three 
standing,  with  the  usual  rosettes  and  filling  ornaments  in 
the  background.  On  the  body  are  two  continuous  friezes; 
the  upper  is  of  human  figures,  all  marching  to  left,  while 
the  lower  is  the  usual  band  of  orientalizing  animals. 
At  the  bottom  are  rays.  The  amphora  has,  unfortunately, 
been  somewhat  overfired;  but  it  is,  in  spite  of  that  defect, 
the  most  important  vase  in  the  case. 

Accession  No.  MS552.  Height,  40.5  cm.;  diameter. 
32  cm.  Furtwangler,  Sitzungsberichte  der  Akademie  zu 
Miinchen,  1905,  p.  255,  No.  9. 

No.  31.  A pair  of  huge  Corinthian  pitchers,  or  cenochoae.  These,  also, 
are  of  the  true  Corinthian  ware,  and  are  identical  in  design. 
One  of  them  has  been  much  worn.  Each  has  a decoration 
of  three  friezes  of  animals;  sphinxes,  panthers,  lions, 
swans,  and  grazing  deer  being  the  ones  found  in  the 
different  friezes.  They  were  found  at  Vulci. 

Accession  Nos.  MS547  and  548.  Heights,  43  and 
39  cm.  respectively. 

No.  31C.  A similar  pitcher,  of  uncertain  provenance,  with  a similar 
design  of  friezes  of  animals  and  rosettes,  lent  to  the 
Museum  by  Mrs.  John  Kearsley  Mitchell. 

Accession  No.  Loan  Gl.  Height,  42.7  cm.  S.  B. 
L(uce),  Museum  Journal,  VIII,  1917,  pp.  188-89,  Fig.  72. 
A.  J.  A.,  XXII,  1918,  p.  83. 

No.  32.  An  Italo-Corinthian  alabastron,  with  a design  of  two  lions 
facing  each  other,  covering  the  whole  body  of  the  vase. 
This  is  crudely  treated,  in  comparison  with  the  Greek 
design  that  it  seeks  to  imitate. 

Accession  No.  MS2990.  Height,  18.3  cm.  Prove- 
nance uncertain. 

No.  33.  An  Italo-Corinthian  alabastron  from  Vulci,  of  elongated 
shape,  decorated  with  three  of  the  usual  bands  of  animals. 


56 


MEDITERRANEAN  SECTION 


The  color  of  the  clay  approaches  that  of  the  true  Corin- 
thian vases,  and  the  imitation  is  very  successful. 

Accession  No.  MS712.  Height,  36.2  cm. 

No.  34.  An  Etrusco-Corinthian  olpe,  made  by  an  Etruscan  potter 
in  imitation  of  the  Corinthian  ware.  It  is  decorated  with 
a frieze  of  warriors  around  the  body,  painted  in  the 
Etruscan  manner,  and  an  incised  tongue  pattern  below 
the  neck.  Another  indication  of  the  Etruscan  origin  of 
this  vase  is  given  in  the  color  of  the  clay,  which  has  a 
slight  reddish  tinge,  not  seen  in  either  Corinthian  or 
Italo-Corinthian  pottery.  Found  at  Vulci  in  Etruria. 

Accession  No.  MS714.  Height,  25.2  cm.  Furtwang- 
ler,  Sitzungsberichte  der  Akademie  zu  Miinchen,  1905, 
p.  256,  No.  10. 

No.  35.  A group  of  three  olpas  of  Italo-Corinthian  manufacture, 
imitating  merely  the  shape  of  the  Corinthian  vases,  and 
not  the  orientalizing  style  of  decoration. 

A.  In  this  vase  the  design  is  of  rosettes  and  a tongue 

pattern  in  white  overcolor  on  a brown  wash,  with 
three  stripes  left  in  the  color  of  the  clay  around  the 
body.  The  handle  ends  in  medallions  decorated  with 
a cross.  At  the  bottom  of  the  vase,  rays  in  brown  on 
the  uncolored  clay.  No  incision  is  used.  From  Vulci. 
Accession  No.  MS713.  Height,  28.4  cm. 

B.  This  vase,  also  from  Vulci,  is  completely  covered  with  a 

black  wash  except  for  the  bottom,  which  is  left  in  the 
color  of  the  clay  and  is  decorated  with  rays.  On  the 
shoulder  is  a carefully  incised  tongue  pattern  in  red 
and  black.  The  medallions  at  the  end  of  the  handle 
are  decorated  with  rosettes,  and  there  is  a rosette  on 
the  inside  of  the  lip  where  the  handle  joins.  Around 
the  body  are  three  red  and  buff  stripes. 

Accession  No.  MS715.  Height,  27.7  cm. 

C.  This  vase,  of  uncertain  provenance,  is  covered  with  a 

thin  wash,  which,  from  overfiring,  has  taken  on  a 
brown  color.  On  the  shoulder  is  a crudely  incised 
scale  pattern,  the  rows  being  alternately  in  red,  and 
in  the  color  of  the  vase.  On  the  neck,  and  on  the 
medallions  at  the  ends  of  the  handle,  are  rosettes. 
Around  the  body  runs  a series  of  narrow  red  stripes. 


57 


THE  UNIVERSITY  MUSEUM 


On  the  foot  are  rays  in  brown,  on  a background  of  the 
color  of  the  clay. 

Accession  No.  MS5316.  Height,  26.3  cm. 

No.  36.  Two  Italo-Corinthian  olpae,  of  identical  design,  decorated 
with  the  usual  bands  of  animals.  One  of  these  specimens 
is  much  worn.  They  closely  resemble  No.  28,  and  are 
probably  by  the  same  hand.  The  color  of  the  clay,  and 
the  lack  of  incised  line  drawing  are  the  chief  differences 
between  these  vases  and  the  true  Corinthian  ware.  Found 
at  Vulci. 

Accession  Nos.  MS549  and  MS550.  Heights,  37.9 
and  40  cm.  respectively. 

No.  37.  A pair  of  pitchers,  decorated  with  scale  patterns,  grouped 
together  to  show  the  difference  between  the  careful  work 
of  an  earlier  period,  and  the  later  decadent  careless  work. 

A.  In  this  vase  the  scale  pattern  on  the  shoulder  is  carefully 

incised  and  the  scales  colored  alternately  red  and 
black.  Above  them,  on  the  shoulder,  is  a tongue 
pattern  equally  carefully  rendered.  Below  the  scales 
are  heavy  bands  of  red  and  black,  and  rays.  This 
vase,  though  probably  of  Italo-Corinthian  manufac- 
ture, is  almost  good  enough  to  be  of  the  true  Corin- 
thian ware.  Its  provenance  is  uncertain.  Sixth 
century  B.  C. 

Accession  No.  MS3427.  Height,  24.6  cm. 

B.  This  vase  has  been  grouped  with  the  one  preceding  to 

show  the  decadence  of  a later  period.  Here  the  scales 
are  much  larger,  and  very  crudely  incised.  The 
other  decoration  took  the  form  of  heavy  red  stripes 
around  the  body,  but  this  has  for  the  most  part  worn 
off.  Found  at  Vulci.  Late  sixth  century  B.  C. 
Accession  No.  MS641.  Height,  25.9  cm. 

No.  38.  A large  Corinthian  alabastron,  of  the  true  Corinthian  ware, 
dating  in  the  seventh  century  or  early  sixth  century  B.  C., 
and  decorated  with  three  friezes.  The  upper  frieze  has 
in  the  centre  a gorgoneion,  with  a sphinx  facing  it  on 
either  side;  at  the  back,  between  them,  is  a lion.  The 
middle  frieze  has  in  the  centre  of  the  front  two  horsemen 
facing  each  other,  with  a small  tripod  between  them; 
behind  them,  and  following  them,  are  a pair  of  panthers; 


58 


MEDITERRANEAN  SECTION 


while  at  the  back  is  a dancing  man,  bearded,  facing  left. 
The  bottom  frieze  consists  of  an  eagle,  two  lions  and  a 
grazing  deer.  This  vase  was  found  at  Vulci  in  Etruria, 
and  is  one  of  the  finest  Corinthian  vases  in  the  collection. 
Accession  No.  MS553.  Height,  35.5  cm. 


GREEK  VASES  FROM  CHALCIS,  IONIA,  AND  ATTICA. 

Sixth  and  Fifth  Centuries  B.  C. 

Case  VIII. 

The  vases  in  this  case  are  of  different  techniques  and  periods; 
the  description  of  the  Attic  development  will  be  given  more  fully  in 
connection  with  Cases  XII,  XIII,  and  XV. 

No.  39.  A Chalcidian  amphora.  In  the  early  sixth  century  B.  C., 
Chalcis,  the  principal  city  on  the  island  of  Euboea,  was 
the  leading  rival  of  Athens  in  the  field  of  pottery,  and 
was,  therefore,  one  of  the  ceramic  centres  of  Greece.  The 
vases  from  this  place  show  a considerable  amount  of 
oriental  and  Corinthian  influence  in  the  choice  of  subjects, 
and  form  a link  between  the  Corinthian  and  Attic  vases. 

This  vase  has  on  the  obverse,  on  the  shoulder,  two 
grazing  rams  and  a swan,  while  the  reverse  has  two  grazing 
goats  and  an  owl.  On  the  body  of  the  vase,  the  obverse 
has  a design  of  two  lions  attacking  a deer,  while  the 
reverse  has  two  sphinxes  facing  a palmette-lotus  decora- 
tion. This  vase  is  said  to  have  been  found  on  one  of  the 
Greek  Islands. 

Accession  No.  MS398.  Height,  29  cm.  Furtwang- 
ler,  Sitzungsberichte  der  Akademie  zu  Miinchen,  1905, 
p.  256,  No.  11.  E.H.H(all),  Museum  Journal,  V,  1914, 
pp.  226-229,  Figs.  114,  115. 

No.  45.  An  Attic  blackfigured  panel  amphora.  The  vase  is  com- 
pletely covered  with  a lustrous  black  glaze,  with  the 
exception  of  a panel  left  in  the  color  of  the  clay  on  either 
side,  on  which  the  design  is  drawn  in  black  silhouetted 
figures.  On  the  neck  is  a design  of  palmettes.  On  the 
obverse  are  two  boxers,  nude,  with  their  trainer  at  the 
left  and  a third,  nude  athlete  at  the  right;  on  the 
reverse  is  a discus  thrower,  and  a man  with  two  javelins, 


59 


THE  UNIVERSITY  MUSEUM 


with  their  trainer.  In  each  painting  the  trainer  wears  a 
long  mantle,  or  himation,  and  carries  a staff.  This  vase 
is  also  said  to  come  from  one  of  the  Greek  Islands. 

Accession  No.  MS403.  Height,  29.2  cm.  S.B.L(uce), 
Museum  Journal,  VI,  1915,  pp.  169-172,  Figs.  89,  90. 
Luce,  A.  J.  A.,  XX,  1916,  p.  440,  Fig.  4,  and  p.  457,  No.  13, 
and  487. 

No.  41.  A socalled  Tyrrhenian  amphora,  said  to  have  been  found 
in  one  of  the  Greek  Islands.  It  is  not  known  where 
vases  of  this  class  were  made.  They  are  sometimes  called 
Attico-Corinthian  and  sometimes  Attic  Ionic,  but  neither 
of  these  names  is  absolutely  satisfactory.  Many  people 
have  studied  them,  but  no  one  has  as  yet  shown 
conclusively  whence  they  originally  came.  It  is  gen- 
erally believed  nowadays  by  students  of  Greek  vases 
that  they  are  probably  of  Ionian  manufacture,  but  this 
cannot  be  conclusively  proven. 

The  subjects  represented  in  the  principal  decoration 
of  this  vase  are,  on  the  obverse,  Achilles  lying  in  ambush 
for  Troilos,  and,  on  the  reverse,  two  discus  throwers.  In 
the  obverse  design,  Achilles,  completely  armed,  stands  at 
the  left,  facing  the  right,  behind  the  fountain,  which  is 
represented  by  a column  and  a basin.  Polyxena  is  draw- 
ing water  at  the  fountain;  she  holds  a large  hydria  in  her 
hands.  Behind  her,  and  facing  the  fountain,  are  Troilos, 
mounted  on  horseback,  and  two  warriors  on  foot,  equipped 
with  helmets,  round  shields,  and  greaves.  On  the  reverse, 
the  two  discus  throwers  are  in  fantastic  attitudes;  at  left 
and  right  are  humanheaded  birds.  Underneath  these 
principal  designs  are  two  friezes  of  animals,  with  sphinxes 
and  sirens  in  the  upper  frieze. 

Accession  No.  MS2522.  Height,  38.7  cm.  Furt- 
wangler,  Sitzungsberichte  der  Akademie  zu  Munchen, 
1905,  p.  256,  No.  14.  Bates,  A.  J.  A.,  XI,  1907,  p.  57,  and 
pp.  429-440.  Robinson,  A.  J.  A.,  XII,  1908,  pp.  433-435. 

No.  127.  An  Attic  blackfigured  amphora.  Here  the  whole  body  is 
left  in  the  color  of  the  clay,  not  merely  a panel  on  each  side. 
The  obverse  shows  Herakles  fighting  two  Amazons.  He 
attacks  them  with  his  sword  in  his  right  hand,  and  grasps 
one  of  them  by  the  crest  of  her  helmet  with  his  left, 


60 


MEDITERRANEAN  SECTION 


forcing  her  to  the  ground;  on  the  right,  the  second 
Amazon  comes  to  her  comrade’s  rescue.  On  the  reverse, 
two  Greeks  attack  and  subdue  an  Amazon,  whom  they 
are  on  the  point  of  slaying.  This  amphora  is  of  the  early 
blackfigured  style,  and  was  probably  made  in  the  neigh- 
borhood of  .530  B.  C.  Its  provenance  is  not  known. 

Accession  No.  MS5467.  Height,  40  cm.  Formerly 
in  the  Borelli  Bey  Collection;  sale  catalogue,  No.  221. 
S.  B.  L(uce),  Museum  Journal,  VIII,  1917,  pp.  145-147, 
and  Figs.  52,  53.  A.  J.  A.,  XXII,  1918,  p.  210,  No.  1. 

No.  129.  An  Attic  redfigured  amphora,  with  twisted  handles. 

This  beautiful  vase  is  said  to  have  been  found  at  Capua, 
and  was  made  about  450  B.  C.,  at  the  beginning  of 
the  free  or  fine  style  of  the  redfigured  technique.  Here 
the  reverse  process  is  employed  from  that  on  Nos.  45 
and  127,  the  whole  vase  being  covered  with  the  black 
glaze,  and  only  the  figures  left  in  the  color  of  the  clay. 
On  one  side  are  Apollo  and  Artemis,  on  either  side  of  an 
altar;  on  the  other  Dionysos  and  a maenad.  On  the 
neck,  and  under  the  handles,  are  beautiful  palmette 
decorations. 

Accession  No.  MS5466.  Height,  47.7  cm.  Le 
Musee,  Vol.  Ill,  p.  432,  and  PI.  63,  1.  S.  B.  L(uce), 
Museum  Journal,  VIII,  1917,  pp.  25-27,  Figs.  5 and  6. 
A.  J.  A.,  XXI,  1917,  p.  353,  No.  5.  Beazley,  Attic 
Red  Figured  Vases  in  America,  p.  145,  No.  20  (attributes 
to  his  Altamura  painter).  Hoppin,  Handbook  of  Red 
Figured  Vases,  Vol.  I,  p.  25,  No.  26. 

No.  119.  A blackfigured  amphora,  similar  to  No.  127,  found  at 
Corneto-Tarquinia.  The  lid  is  preserved  and  rests  on  the 
vase.  The  obverse  side  shows  Herakles  in  battle  with  two 
Amazons,  whose  sex  is  distinguished,  as  always,  by  the 
use  of  white  overcolor  for  the  nude  parts  of  the  body. 
Herakles  has  conquered  one,  whom  he  grasps  by  the  crest 
of  her  helmet,  and  whom  he  is  on  the  point  of  slaying  with 
his  sword;  while  from  the  right,  the  second  Amazon, 
dressed  in  Phrygian  style,  with  pointed  cap  and  crescent- 
shaped shield,  advances,  thrusting  at  the  hero  with  her 
spear.  On  the  reverse  are  two  Amazons  on  horseback, 
moving  to  the  right.  The  leader  is  in  Phrygian  costume, 


61 


THE  UNIVERSITY  MUSEUM 


the  other  in  Greek  armor.  With  them  are  two  dogs. 
This  is  one  of  the  best  vases  in  the  collection,  and  dates 
at  about  52.5  B.  C. 

Accession  No.  MSI 752.  Height,  46  cm.  Furtwang- 
ler,  Sitzungsberichte  der  Akademie  zu  Munchen,  1905, 
p.  256,  No.  15.  S.  B.  L(uce),  Museum  Journal,  VIII,  1917, 
pp.  147-150,  Figs.  54,  55.  A.  J.  A.,  XXII,  1918,  p.  210, 
No.  2. 

No.  130.  An  Attic  redfigured  Nolan  amphora,  so  called  because 
most  of  the  amphorae  of  this  shape  have  been  found  at 
Nola  in  Campania  It  is  of  about  the  same  period  as 
the  vase  numbered  129.  On  the  front  side  is  Apollo,  with 
his  lyre  in  one  hand,  and  a shallow  bowl,  or  patera,  in  the 
other,  standing  in  front  of  an  altar.  On  the  reverse  is  a 
woman  (a  priestess?)  with  an  oenochce  or  pitcher. 

Accession  No.  MS5465.  Height,  34.2  cm.  S.  B. 
L(uce),  Museum  Journal,  VIII,  1917,  pp.  27-28,  Fig.  7. 
A.  J.  A.,  XXI,  1917,  p.  353,  No.  6. 

No.  43.  An  amphora  of  a type  practically  unique  among  vases.  It 
is  closely  allied  to  the  class  called  Caeretan  hydriae  or 
water  jars,  so  called  because  all  the  vases  of  this  class, 
so  far  as  their  provenance  is  known,  were  found  at  the  site 
of  the  ancient  city  of  Caere  (the  modern  Cervetri)  in 
Etruria.  All  of  them  are  water  jars  with  two  side  handles, 
and  one  connecting  the  mouth  with  the  body.  For 
examples  of  the  hydria  shape,  see  Nos.  106  and  117  in 
Case  XII.  This  vase  that  we  are  discussing,  however,  is 
an  amphora,  or  jar  for  holding  wine.  In  spite  of  their 
Etruscan  provenance,  the  Caeretan  hydrias  are  not 
Etruscan  vases,  but  are  either  importations  from  Ionia,  or, 
if  made  in  Etruria,  are  the  work  of  Ionian  potters.  That 
this  is  true  is  proven  by  the  existence  of  a class  of  Etruscan 
vases  made  in  imitation  of  them.  This  amphora,  which 
seems  to  be  of  the  Caeretan  technique,  is  said  to  have 
been  found  in  one  of  the  Greek  Islands,  either  Chios  or 
Samos;  and,  if  this  be  the  case,  it  may  be  said  to  prove 
the  Ionian  origin  of  the  Caeretan  hydrice. 

This  vase  has  a shoulder  decoration  of  alternate  black 
and  white  rays  while  on  the  body  there  is  a series  of  black 


62 


MEDITERRANEAN  SECTION 


horizontal  stripes.  On  the  foot  is  a tongue  pattern, 
alternate  red  and  black  and  white  and  black. 

Accession  No.  MS405.  Height,  29  cm.  Furtwang- 
ler,  Sitzungsberichte  der  Akademie  zu  Miinchen,  1905, 
p.  255,  No.  12.  Bates,  Transactions  of  Dept,  of  Archae- 
ology, University  of  Pennsylvania,  Vol.  II,  Part  II,  1907, 
pp.  155-157,  and  PI.  XI.  A.  J.  A.,  XI,  1907,  p.  57;  XIII, 
1909,  p.  209. 

No.  42.  A little  amphora  of  Ionian  manufacture,  said  to  have  been 
found  on  one  of  the  Greek  Islands.  The  designs  are  in 
panels  on  the  body,  while  on  the  neck  is  a continuous  frieze 
of  lotus  buds.  On  one  panel  is  a lion,  on  the  reverse,  a 
deer.  Several  vases  are  known  by  the  hand  that  produced 
this  amphora,  the  most  famous  being  the  Phineus 
kylix  in  the  Antiquarium  at  Wurzburg.  The  place  where 
these  vases  were  made  was  possibly  the  Island  of  Naxos. 

Accession  No.  MS401.  Height,  24.4  cm.  E.  H. 
H(all),  Museum  Journal,  V.  1914,  pp.  218-222,  Figs.  109, 
110.  A.  J.  A.,  XIX,  1915,  p.  77. 

FRAGMENTS  OF  GREEK  AND  ROMAN  POTTERY. 

Case  IX. 

No.  47.  Thirty-three  fragments  of  small  Attic  blackfigured  drinking 
cups  (skyphoi)  and  ladles  (kyathoi) ; these  are  for  the  most 
part  appropriately  painted  with  Bacchic  scenes,  although 
there  are  sometimes  scenes  of  warriors  in  combat,  or 
labors  of  Herakles.  All  were  found  at  Orvieto. 

Accession  No.  MS4863.  Two  of  these  fragments  are 
published  by  S.  B.  L(uce),  Museum  Journal,  VIII,  1917, 
p.  150,  and  Figs.  56  and  57;  and  one  by  E.  F.  R(ambo), 
ibid.,  X,  1919,  p.  13,  Fig.  4.  See  also  A.  J.  A.,  XXII,  1918, 
p.  210,  Nos.  3 and  4. 

No.  48.  Fragments  of  an  early  Attic  blackfigured  hydria,  or  water 
jar.  The  principal  scene  shows  a warrior  mounting  his 
war  chariot.  From  Orvieto. 

Accession  No.  MS4862. 

No.  50.  A fragment  of  a blackfigured  amphora,  showing  two  satyrs, 
or  silens,  under  a grape  vine  eating  the  clusters.  This  is  a 


63 


THE  UNIVERSITY  MUSEUM 


rather  unusual  subject  among  the  representations  of 
Bacchic  scenes,  and  deserves  to  be  looked  at  with  care, 
not  only  on  that  account,  but  because  it  is  a good  example 
of  the  best  period  in  the  black  figured  technique.  Found 
at  Orvieto. 

Accession  No.  MS4861.  E.  H.  H(all),  Museum  Jour- 
nal, IV,  1913,  p.  161,  and  Fig.  138. 

No.  51.  Fragments  of  an  Ionian  kylix,  or  drinking  cup,  of  paler 
clay  than  the  pottery  of  Attica.  The  large  prophylactic 
eyes  were  put  on  to  avert  the  evil  eye  from  its  owner,  just 
as  today  the  fishermen  of  Sicily  paint  eyes  on  the  bows 
of  their  boats  for  the  same  reason.  Between  the  eyes  is  a 
very  conventionalized  nose.  This  vase  was  made  by 
Ionians,  probably  in  one  of  the  Greek  Islands,  in  the 
sixth  century  B.  C.  Later,  vases  of  this  kind,  with  eyes, 
were  made  in  Attica,  and  became  the  principal  type  of 
Attic  blackfigured  kylix.  Found  at  Orvieto. 

Accession  No.  MS4864. 

No.  52.  Seven  fragments  of  what  are  known  as  Kleinmeister  kylikes, 
or  kylikes  of  the  minor  artist  type.  These  were  made 
in  Athens  in  the  period  of  the  blackfigured  technique,  and 
consist  of  a band  of  the  color  of  the  clay  between  two  of 
black,  with  a decoration  of  a continuous  frieze  of  small 
figures;  or  else,  the  entire  vase  is  left  in  the  color  of  the 
clay,  and  a very  small  design  of  figures  or  animals  is 
drawn  on  the  centre  of  each  side.  The  principal  artist  to 
sign  vases  of  this  kind  is  the  potter  Tleson,  who  seems  to 
have  lived  and  flourished  in  the  neighborhood  of  510 
B.  C.  All  of  these  vases  in  this  case  came  from  Orvieto. 

Accession  Nos.  MS3433,  MS4858,  MS5446. 

No.  53.  Four  fragments  from  an  Attic  blackfigured  amphora,  one 
of  them  showing  a horse,  two  others  a warrior  with  helmet, 
round  shield  and  spear,  and  the  fourth  an  archer,  in 
oriental  costume,  wearing  the  trousers  characteristic  of 
the  Persians.  It  is  believed  by  many  scholars  that  the 
pictures  of  such  archers  on  vasepaintings  are  of  Scythian 
mercenaries  in  the  Athenian  army;  but  the  vase  is  of  too 
early  a period  for  this  to  be  possible,  as  no  soldiers  of  this 
type  were  employed  by  the  Greeks  when  this  vase  was 
painted.  It  may  be  either  that  Greek  bowmen  adopted 


64 


MEDITERRANEAN  SECTION 


the  Scythian  costume,  which  seems  most  unlikely;  or  that 
here  we  have  a representation  of  a Persian.  Found  at 
Orvieto. 

Accession  No.  MS4873.  E.  H.  H(all),  Museum 
Journal,  IV,  1913,  pp.  159,  160,  Fig.  136. 

No.  54.  A small  vase,  commonly  called  an  amphoriskos,  probably 
of  Ionian  manufacture,  in  good  preservation.  The  body  is 
decorated  with  horizontal  bands.  As  large  quantities  of 
vases  of  this  kind  have  been  found  in  the  American 
excavations  at  Sardes,  it  is  suspected  that  this  shape  may 
be  peculiar  to  that  place.  These  vases  seem  to  belong  in 
the  sixth  century  B.  C.  The  provenance  of  this  specimen 
is  not  known,  but  it  comes  from  some  site  in  Italy. 

Accession  No.  MS3980. 

No.  55.  The  fragments  included  under  this  number  were  found  at 
Orvieto,  and  are  of  a kylix,  or  drinking  cup,  of  the  Attic 
redfigured  technique,  dating  about  480  B.  C.  In  the 
inside  picture,  a nude  youth  is  represented,  with  a large 
krater,  or  mixing  bowl  for  wine,  on  the  ground  beside  him. 
The  outside  shows  a scene  of  banqueters. 

Accession  No.  MS4871.  Beazley,  J.  H.  S„  XXXIX, 
1919,  p.  87,  and  PI.  II,  2 (attributed  to  his  Colmar 
painter).  See  also  Beazley,  Attic  Red  Figured  Vases  in 
America,  pp.  81-82,  No.  11,  and  Hoppin,  Handbook  of 
Red  Figured  Vases,  Vol.  I,  p.  199,  No.  13. 

No.  56.  A group  of  eleven  potsherds  that  differ  radically  from  the 
others  in  the  case.  They  are  covered  with  a lustrous  red 
glaze,  and  are  ornamented  with  designs  in  relief.  They 
were  not  turned  on  the  wheel,  but  were  made  in  moulds. 
These  fragments  date  from  Roman  times  and  are  of  the 
Arretine  ware,  whch  is  named  for  the  place  of  its  manu- 
facture, the  city  of  Arretium,  the  modern  Arezzo.  This 
ware  was  manufactured  from  the  first  century  B.  C., 
through  the  first  century  A.  D.,  and  even  later. 

Accession  No.  MS4877. 

No.  131.  A redfigured  pyxis,  or  toilet  box,  of  the  latest  Athenian 
style,  belonging  in  the  fourth  century  B.  C.  On  the 
cover  is  the  marriage  of  Herakles  and  Hebe,  in  the  presence 
of  Zeus,  Athena,  Hera,  and  Hestia,  the  goddess  of  the 
hearth,  who  welcomes  them  to  their  home  among  the  gods. 


65 


THE  UNIVERSITY  MUSEUM 


Behind  the  bridal  pair  are  two  bridesmaids,  while  three 
love  gods,  or  Erotes,  appear  at  different  parts  of  the  vase. 
In  the  centre  of  the  cover  is  a bronze  ring.  On  the  side 
of  the  pyxis  is  a pattern  of  myrtle  leaves  and  berries. 
Originally,  gilding  was  employed,  and  the  vase  was  much 
richer  in  color  than  it  is  now.  White  is  employed  for  the 
flesh  and  garments  of  Hebe,  the  flesh  of  the  Erotes,  and  the 
upper  garment  of  Athena;  while  an  incense  burner  beside 
the  throne  of  Zeus  is  also  white.  On  the  white  draperies 
of  Athena  and  Hebe,  details  are  picked  out  in  yellow, 
purple,  and  brown.  This  vase  is  very  well  known,  and 
was  one  of  the  principal  ornaments  in  a celebrated  collec- 
tion of  vases  in  England,  known  as  the  Forman  Collection. 
From  that  collection  it  passed  into  the  collection  of  Mr. 
J.  E.  Taylor  in  England,  who  exhibited  it  at  the  Burlington 
Fine  Arts  Club  in  1904.  The  Museum  acquired  it  in  1916. 

Accession  No.  MS5462.  Diameter,  21  cm.  Forman 
Sale  Catalogue,  No.  364,  and  plate  facing  p.  76.  Cata- 
logue of  Exhibition  of  Burlington  Fine  Arts  Club,  1904, 
pi.  XLVI,  and  pp.  118-119,  No.  74.  S.  B.  L(uce), 
Museum  Journal,  VII,  1916,  pp.  269-276,  Figs.  204,  205, 
and  VIII,  191 7,  p.  153.  A.  J.  A.,  XXI,  1917,  p.  352,  No.  1, 
and  p.  455,  Fig.  1;  XXII,  1918,  p.  210,  No.  12. 

No.  139.  An  Attic  redfigured  kylix,  of  uncertain  provenance  (prob- 
ably Orvieto),  and  put  together  from  fragments.  The 
subject  of  the  outside,  which  is  the  only  part  with  designs 
preserved,  is  of  women  engaged  in  various  domestic  pur- 
suits. It  belongs  to  the  period  between  465  and  450 
B.  C.,  and  is  a work  of  a painter  usually  called  the 
Penthesilea  master. 

Accession  No.  MS5670.  S.  B.  L(uce),  Museum 
Journal,  XI,  1920,  pp.  63-66,  No.  6,  and  Fig.  41. 


ATTIC  BLACKFIGURED  VASES,  VI  CENTURY  B.  C. 
Case  XII. 

In  the  field  of  pottery,  as  well  as  in  all  other  fields  where  a 
sense  of  beauty  is  of  the  first  importance,  Athens  early  became  the 
dominant  figure  of  Greece.  The  great  masters  of  the  Greek  ceramic 
art  were  either  Athenians,  or  came  there  from  other  places  because 


66 


MEDITER RAX E A NT  SECTION 


at  Athens  was  to  be  found  the  centre  of  all  artistic  production.  The 
great  age  of  Greek  vases  is  that  of  the  supremacy  of  the  Attic 
pottery,  and  begins  at  the  time  of  the  Peisistratid  tyranny,  or  about 
560  B.  C.,  although  the  earlier  blackfigured  vases  may  antedate  this. 

Attic  vases  may  be  divided  into  two  styles — the  blackfigured 
and  the  redfigured.  All  the  vases  in  this  case  belong  to  the  former 
style.  The  figures  are  painted  in  black  silhouette  on  a background 
of  the  color  of  the  clay.  Details  are  rendered  by  incised  lines,  and 
white,  purple,  and  other  colors  are  employed.  Often  all  of  the  vase  is 
covered  with  a lustrous  black  glaze  or  varnish,  except  for  a panel 
left  in  the  color  of  the  clay,  in  which  the  design  is  painted.  Often 
the  entire  vase  is  left  in  the  color  of  the  clay,  the  panel  decoration 
not  being  employed. 

The  Attic  blackfigured  style  lasted  down  to  the  end  of  the 
sixth  century  B.  C.,  and  perhaps  into  the  fifth.  For  many  years  it 
divided  the  honors  with  the  later  redfigured  technique,  but  finally 
subsided.  The  principal  potters  and  painters  working  in  this 
technique  are  Exekias,  Amasis  and  Nikosthenes. 

The  vases  are  described  beginning  with  the  vase  at  the  left  on 
the  top  shelf,  and  going  from  left  to  right  on  that  and  the  lower 
shelves. 

No.  60.  A fragment  of  a blackfigured  amphora,  found  at  Orvieto, 
and  put  together  from  fragments.  It  is  painted  with  a 
Dionysiac  scene,  and  was  probably  used  to  hold  a rare 
and  precious  wine.  Here  we  have  three  satyrs,  one  of 
whom  is  walking,  and  leading  a mule  on  which  the  other 
two  are  riding.  All  are  represented  as  extremely  drunk,— 
an  eminently  proper  state  in  which  to  portray  the  attend- 
ants of  Dionysos.  To  this  vase  belongs  the  fragment 
No.  50,  in  Case  IX. 

Accession  No.  MS4861.  E.  Id.  H(all),  Museum 
Journal,  IV,  1913,  p.  161  and  Fig.  139. 

No.  78.  A very  small  and  early  blackfigured  lekythos,  painted  in 
Attica  under  Chalcidian  influence.  The  design  shows  two 
draped  men,  a horseman,  a winged  male  figure,  and  a 
running  man,  who  seems  to  be  attacking  the  rider.  Behind 
the  rider  is  a flymg  bird.  Found  at  Orvieto  and  put 
together  from  fragments. 

Accession  No.  MS4849. 


67 


THE  UNIVERSITY  MUSEUM 


No.  77.  Fragmentary  Attic  blackfigured  lekythos,  or  oil  jar,  of 
large  size  for  a vase  of  this  kind.  It  was  found  at  Orvieto, 
and  put  together  from  many  small  pieces;  but  much  is 
missing.  On  the  body  is  portrayed  a chariot  drawn  by 
four  horses,  going  to  right;  the  driver  has  his  shield 
strapped  to  his  back.  Beside  the  chariot  stands  an  old 
man,  draped  in  a long  himation,  facing  the  driver. 

Accession  No.  MS4839.  Height,  20.6  cm.  E.  H. 
H(all),  Museum  Journal,  IV,  1913,  p.  155,  No.  9. 

No.  1 14.  A blackfigured  amphora,  found  at  Orvieto  and  put  together 
from  fragments.  Much  is  missing,  including  both  handles. 
On  the  obverse,  three  goddesses,  one  of  them  Athena,  are 
led  towards  the  right  by  Hermes.  At  the  right  is  a man, 
facing  them.  This  is  the  early  form  of  rendering  the 
scene  of  the  Judgment  of  Paris,  and  is  the  method  regu- 
larly found  on  the  black-figured  vases  that  show  the 
subject.  It  is  called  the  procession  type.  The  reverse 
side,  much  of  which  is  lost,  seems  to  have  had  the  departure 
of  a warrior. 

Accession  No.  MS4840.  Height,  29.3  cm.  E.  H. 
H(all),  Museum  Journal,  IV,  1913,  pp.  153-155,  No.  6, 
and  Fig.  132.  (The  subject  is  there  wrongly  interpreted.) 

No.  46.  An  Attic  blackfigured  panel  amphora,  with  a design  on  one 
side  of  Athena  brandishing  her  spear,  and  facing  a tripod, 
with  a draped  male  figure  on  either  side  of  her.  The 
reverse  shows  a group  of  three  nude  dancers.  Found  at 
Orvieto. 

Accession  No.  MS2489.  Height,  33.3  cm. 

No.  58.  An  early  panel  amphora,  with  black  figures.  This  vase  is 
probably  not  Attic,  but  may  be  either  Chalcidian,  or  an 
Italic  imitation  of  the  Attic  ware.  It  is  said  to  have 
been  found  in  one  of  the  Greek  Islands,  but  this  information 
is  suspected.  On  the  obverse  is  a group  of  four  draped 
men  and  a warrior;  on  the  reverse  two  men,  and  a warrior 
brandishing  his  spear. 

Accession  No.  MS402.  Height,  32  cm. 

No.  109.  A blackfigured  panel  amphora,  found  at  Orvieto,  and  put 
together  from  fragments.  On  the  obverse,  a lyre  player  is 
performing  on  his  instrument  before  two  seated  figures; 
on  the  reverse  side,  the  same  figure  is  shown  alone. 


68 


MEDITERRANEAN  SECTION 


Accession  No.  MS4841.  Height,  29.3  cm.  E.  H. 
H(all),  Museum  Journal,  IV,  1913,  p.  152,  No.  4,  and 
Figs.  130a  and  130b. 

No.  62.  An  Attic  blackfigured  krater,  or  mixing  bowl.  The  ancient 
Greeks  never  drank  their  wine  straight,  but  always  diluted 
it  with  water,  and  so  at  banquets  the  wine  was  mixed  in 
one  of  these  bowls  before  being  served  to  the  guests.  This 
bowl  is  of  the  shape  called  a columnar  handled  krater, 
or  kelebe,  from  the  form  of  the  handles,  which  are  vertical, 
and  rise  in  a straight  line  from  the  shoulder  to  the  over- 
hanging lip.  The  vase  belongs  at  about  535  B.  C.  The 
scene  represents  Herakles  in  his  famous  encounter  with 
the  Nemean  Lion,  the  first  of  his  labors.  He  is  here  shown 
wrestling  with  the  lion  standing.  In  the  later  vases  he  is 
always  shown  bending  over  the  ferocious  monster.  Watch- 
ing the  contest  are,  on  the  left,  Iolaos,  the  hero’s  nephew, 
and  faithful  squire  and  companion,  and,  on  the  right,  the 
goddess  Athena,  who  is  the  patroness  of  Herakles.  On 
the  reverse  are  four  fully  armed  warriors.  Said  to  have 
been  found  in  one  of  the  Greek  Islands. 

Accession  No.  MS404.  Height,  22.9  cm.  S.  B. 
L(uce),  Museum  Journal,  VIII,  1917,  p.  155,  No.  2,  and 
p.  152,  Fig.  60.  A.  J.  A.,  XXII,  1918,  p.  210,  No.  7. 

No.  136.  An  Attic  blackfigured  skyphos  of  the  late  sixth  century 
B.  C.  Around  the  body  runs  a representation  of  the 
contest  of  Herakles  and  Nereus,  the  old  man  of  the 
sea.  On  one  side,  JJerakles  has  caught  the  god,  while 
two  of  his  daughters,  the  sea  nymphs  or  Nereids,  rush 
off  in  terror;  on  the  other  side,  Athena,  Iolaos  and  Hermes 
stand  watching  the  combat.  Under  one  handle  is  a large 
ram,  the  attribute  of  Hermes.  Acquired  in  1918.  Prov- 
enance unknown. 

Accession  No.  MS5481.  Height,  19.4  cm.;  diam- 
eter, 23.2  cm.  E.  F.  R(ambo),  Museum  Journal,  X,  1919, 
pp.  15-19,  Figs.  6 and  7.  A.  J.  A.,  XXIV,  1920,  p.  104. 

No.  69.  An  Attic  blackfigured  oenochoe,  or  pitcher,  from  Orvieto, 
decorated  with  two  maenads,  dancing  away  from  each 
other.  It  belongs  to  the  period  of  about  525  B.  C. 

Accession  No.  MS2492.  Height,  22.4  cm. 


69 


THE  UNIVERSITY  MUSEUM 


No.  61.  A fragmentary  blackfigured  amphora  of  a very  interesting 
type,  usually  called  the  affected  style.  These  affected 
vases,  which  are  all  amphorae,  were  first  studied  carefully 
by  Karo  (J.  H.  S.  XIX,  1899,  pp.  147-160),  who  thinks 
that  all  of  them  come  from  the  same  atelier,  if  they  are 
not  by  the  same  hand.  This  specimen  was  found  at 
Orvieto,  and  put  together  from  fragments;  and  all  of  the 
previously  known  “affected”  vases  have  also  been  found 
in  Italy.  Walters,  in  discussing  these  vases  (Hist.  Ancient 
Pottery,  I,  pp.  387-388,  pi.  XXIX,  2),  says  that  they  show 
excellence  of  technique  and  careful  workmanship,  but  are 
“lifeless  and  monstrous  almost  to  grotesqueness,”  and 
that  their  style  is  “peculiar  and  mannered.” 

Of  this  specimen,  only  parts  of  the  neck  and  shoulder 
remain.  They  show  a design  of  draped  figures  and  horse- 
men, with  small  horsemen  filling  the  small  space  under  the 
handles.  It  belongs  near  the  middle  of  the  sixth  cen- 
tury, B.  C. 

Accession  No.  MS4852.  E.  H.  H(all),  Museum  Jour- 
nal, IV,  1913,  p.  155,  No.  7. 

No.  71.  A blackfigured  jug,  or  olpe,  decorated  with  three  dancing 
warriors  in  armor  and  two  draped  men.  On  the  base  is 
the  meaningless  graffto 

Accession  No.  MS4800.  Height,  22  cm. 

No.  117.  A blackfigured  hydria,  or  water  jar,  found  at  Chiusi,  and 
mended.  The  designs,  as  is  the  custom  on  vases  of  this 
shape,  are  in  panels  on  the  shoulder  and  body.  On  the 
shoulder  is  represented  the  combat  of  Herakles  with  the 
Nemean  Lion;  the  hero  bends  forward  and  presses  against 
the  animal,  who  strikes  at  his  head  with  his  left  hind  paw. 
Above  Herakles  hang  his  cloak  and  quiver.  At  the  left 
is  Athena;  at  the  right,  Iolaos;  both  are  seated. 

The  principal  painting,  on  the  body,  is  of  girls  drawing 
water  at  a fountain.  The  fountain  which  is  at  the  right, 
is  like  those  in  Modern  Greece,  being  a wall  with  a spout, 
out  of  which  the  water  runs.  Here  the  spout  is  in  the  form 
of  a lion’s  head.  (For  the  significance  of  the  lion's  head 
as  a waterspout  see  Eleanor  F.  Rambo,  Lions  in  Greek 
Art,  Bryn  Mawr  Ph.D.  thesis,  pp.  29,  30.)  On  the 
top  of  the  spring  is  a crow,  while  conventionalized 


70 


M E D I T E R R A N E A N S E ( ' T I O N 


branches  in  the  field  suggest  that  it  was  situated  in  a 
grove.  The  maidens  are  three  in  number.  At  the  right, 
one  is  about  to  fill  her  jar;  she  is  on  the  point  of  putting 
it  under  the  water  spout.  The  girl  in  the  centre  has 
filled  hers,  has  put  it  upright  upon  her  head,  and  is  going 
home  with  the  day’s  supply.  At  the  left,  another  girl 
approaches,  who  is  also  carrying  her  pitcher  on  her  head, 
but  sidewise,  showing  that  it  is  empty.  Between  these 
two  maidens  flies  a bird  (mostly  lost).  This  vase  can 
surely  be  put  at  the  latter  half  of  the  blackfigured  period, 
in  the  neighborhood  of  500  B.  C.,  and  recalls  the  style  of 
the  transitional  artist  Pamphaios,  who  painted  both  black- 
figured  and  redfigured  vases. 

Accession  No.  MS2463.  Height,  46  cm.  S.  B. 
L(uce),  Museum  Journal,  VIII,  1917,  p.  153,  No.  61,  and 
p.  155,  No.  3.  A.  J.  A.,  XXII,  1918,  p.  210,  No.  8. 

No.  116.  A blackfigured  panel  amphora,  found  at  Chiusi.  On  the 
obverse  side  are  four  satyrs,  three  of  whom  carry  nymphs 
or  maenads  on  their  shoulders.  The  fourth,  at  the  right, 
is  swinging  a maenad  into  place,  and  holds  her  in  his 
arms.  On  the  reverse,  Dionysos  stands  in  the  centre, 
facing  to  the  right.  Opposite  him  are  Athena  and  Hermes; 
at  the  left,  behind  him,  a maenad  and  a satyr.  The  lid 
of  this  amphora  has  been  preserved  and  rests  on  its  mouth. 
The  vase  has  been  somewhat  restored.  It  belongs  in  the 
latter  half  of  the  sixth  century  B.  C. 

Accession  No.  MS2462.  Height,  48.7  cm. 

No.  106.  A blackfigured  hydria,  or  water  jar,  found  at  Orvieto,  and 
put  together  from  fragments.  The  neck,  lip,  back  handle, 
one  side  handle,  back  of  the  shoulder,  foot,  and  a large 
part  of  the  body  are  restored.  On  the  shoulder  panel  is  a 
design  of  two  warriors  playing  pessi,  or  dice,  in  the  presence 
of  Athena.  Behind  them  the  warriors  have  stacked  their 
helmets  and  shields.  The  main  decoration,  on  the  body, 
shows  Athena  mounting  her  chariot,  which  faces  right. 
With  her  is  a bearded  man,  holding  a club.  Beside  the 
horses  are  Apollo,  playing  his  lyre,  and  Dionysos;  and 
Hermes  stands  at  the  horses’  heads.  Owing  to  the  seated 
figure  carrying  a club,  this  painting  may  possibly  represent 
the  apotheosis  of  Herakles,  which  is  regularly  shown  this 


71 


THE  UNIVERSITY  MUSEUM 


way  in  the  blackfigured  vases,  the  only  difference  being 
that  the  hero  is  almost  invariably  clad  in  the  lion’s  skin. 

Accession  No.  MS4831.  Height,  40.3  cm.;  diam- 
eter, 28.7  cm.  E.  H.  H(all),  Museum  Journal,  IV,  1913, 
Fig.  127,  and  pp.  149-150,  No.  1.  S.  B.  L(uce),  Museum 
Journal,  VIII,  1917,  p.  152.  A.  J.  A.,  XXII,  1918,  p.  210, 
No.  1 1 . 

No.  135.  A small  blackfigured  amphora,  very  crude.  On  the 
obverse,  Herakles  wrestles  with  the  Nemean  Lion,  stand- 
ing, in  the  presence  of  Iolaos,  Athena(?)  and  Hermes(?). 
The  reverse  shows  a seated  figure,  facing  left,  in  the  centre, 
flanked  to  right  and  left  by  four  standing  figures,  two 
winged  victories,  with  flesh  parts  rendered  in  white,  and 
two  draped  figures. 

Accession  No.  MS4802.  Height  17  cm.  S.  B. 
L(uce),  Museum  Journal,  VIII,  1917,  p.  151,  Figs.  58,  59, 
and  p.  154,  No.  1.  A.  J.  A.,  XXII,  1918,  p.  210,  No.  6. 

No.  63.  Fragment  of  a water  jar,  put  together  from  many  small 
pieces.  Found  at  Vulci  in  Etruria.  The  Greeks  employed 
two  shapes  of  such  vases;  the  hydria  (see  Nos.  106  and 
117  in  this  case),  the  characteristics  of  which  are  a large 
mouth,  the  neck  sharply  separated  from  the  shoulder, 
which  is  almost  flat,  and  the  body  in  its  turn  distinct  from 
the  shoulder,  and  sloping  away  to  the  foot.  There  are 
three  handles,  two  on  the  body,  one  connecting  the  mouth 
with  the  shoulder.  In  the  other  form,  known  as  the 
kalpis,  of  which  these  fragments  are  an  example,  the  neck 
melts  into  the  shoulder,  which  is  rounded  and  not  sep- 
arated from  the  body.  The  arrangement  of  the  handles 
is  the  same,  except  that  the  back  handle  usually  does  not 
join  the  mouth,  but  the  neck  immediately  under  it. 

The  kalpis  form  is  rare  in  the  blackfigured  period,  and 
is,  on  the  other  hand,  the  standard  form  for  a redfigured 
water  jar  to  take,  while  the  reverse  is  true  of  the  hydria, 
it  being  the  usual  blackfigured  form,  and  rare  in  the 
following  period.  This  kalpis,  then,  being  in  the  earlier 
style,  in  itself  a rather  unusual  thing,  should  be  regarded 
as  coming  at  the  end  of  the  blackfigured  period,  possibly 
in  the  transition  between  it  and  the  redfigured  style, 
in  the  neighborhood  of  500  B.  C.  The  scene,  a conversa- 


MEDITERRANEAN  SECTION 


tion  between  two  men  and  two  women  in  front  of  a colon- 
nade, is  in  the  spirit  of  the  redfigured  period,  rather  than  the 
blackfigured,  although  the  earlier  technique  is  employed. 

Accession  No.  MS694.  Too  fragmentary  for  accurate 
measurement. 

No.  70.  A blackfigured  oenochoe,  or  pitcher,  with  a design  of  three 
warriors,  the  one  in  the  centre  being  on  the  point  of  mount- 
ing a horse,  which  faces  the  right.  The  other  two  carry  big 
shields  shaped  somewhat  like  the  body  of  a violin,  which 
are  known  as  Boeotian  shields,  owing  to  their  being 
represented  on  the  coins  of  the  city  of  Thebes.  The 
provenance  of  this  vase  is  uncertain. 

Accession  No.  MS2493.  Height,  23.4  cm. 

No.  113.  A blackfigured  panel  amphora,  found  at  Orvieto,  and  put 
together  from  fragments.  The  obverse  has  a chariot 
drawn  in  three  quarters  view,  facing  the  right.  This  is 
rather  unusual,  as  the  Greek  vasepainters  generally  drew 
chariots  in  prefile.  At  the  right,  an  Amazon  is  seen 
running,  while  a dog  darts  alongside  the  horses.  On  the 
opposite  side  is  a group  of  musicians  and  listeners,  most  of 
which  is  missing. 

Accession  No.  MS4832.  Height,  41  cm.  E.  H. 
H(all),  Museum  Journal,  IV,  1913,  p.  148,  Fig.  128,  and 
pp.  150-151,  No.  2. 

No.  118.  A blackfigured  amphora  of  the  redbodied  variety,  found 
at  Corneto-Tarquinia.  The  obverse  has  a fine  drawing 
of  Herakles  wrestling  with  the  Nemean  Lion,  in  the 
presence  of  Athena.  The  hero  bends  against  the  lion, 
who  strikes  at  his  face  with  his  left  hind  paw.  This  is  a 
splendid  example  of  the  best  period  of  the  blackfigured 
technique.  The  drawing  is  vivid  and  lifelike;  details  are 
abundantly  and  accurately  given  by  a copious  use  of 
incised  lines.  The  reverse  side  is  largely  missing,  and 
what  remains  is  so  badly  preserved  that  it  is  impossible  to 
interpret  its  subject;  but  the  figures  of  Hermes  and 
Herakles  can  be  identified.  This  vase  was  made  at  about 
525  B.  C. 

Accession  No.  MSI 753.  Height,  45  cm.  S.  B. 
L(uce),  Museum  Journal,  VIII,  1917,  p.  154,  Fig.  62,  and 
p.  155,  No.  5.  A.  J.  A.,  XXII,  1918,  p.  210,  No.  10. 


73 


THE  UNIVERSITY  MUSEUM 


No.  112.  A blackfigured  panel  amphora  from  Orvieto,  put  together 
from  fragments.  The  obverse  of  this  vase  portrays  the 
combat  of  Theseus  with  the  Minotaur.  On  the  right, 
looking  on,  are  three  draped  male  figures;  on  the  left,  a 
woman  (flesh  in  white  overcolor)  and  another  male  figure. 
The  woman  is  to  be  identified,  of  course,  as  Ariadne, 
daughter  of  King  Minos.  Theseus  wrestles  with  the 
monster,  much  in  the  manner  of  the  earlier  representations 
of  Herakles  wrestling  with  the  Nemean  Lion,  standing, 
and  grappling  with  him  with  one  hand,  while  with  the 
other  he  thrusts  his  sword  into  him.  This  is  a very 
common  subject  in  Attic  vasepaintings  of  all  periods; 
and  it  should  be  compared  with  the  bullfighting  fresco 
from  the  palace  at  Knossos  (West  Room,  Reproductions 
of  Minoan  Frescoes,  No.  21).  It  was  from  combats  like 
the  one  depicted  in  the  fresco  that  the  myth  of  the 
Minotaur  was  undoubtedly  derived,  and  this  vasepainting 
gives  us  the  classical  Greek  idea  of  these  combats;  for 
we  must  realize  that  the  Minoan  period  was  less  familiar 
to  the  Greeks  of  the  classical  age  than  it  is  to  us.  If 
archaeology  had  existed  as  a science  in  the  sixth  century 
B.  C.,  the  Minoan  civilization  would  have  been  as  much 
archaeology  to  the  Greeks  of  that  period  as  to  us. 

The  reverse  shows  a quadriga  facing  left.  In  it  is  a 
draped  figure,  of  whom  only  the  lower  part  remains. 
Behind  him  stand  a warrior  and  a woman,  facing  left. 
In  front  of  the  horses  stand  another  warrior  and  a woman, 
facing  right,  the  woman  being  at  the  horses’  heads.  Under 
the  horses’  heads  is  a little  boy.  Beside  the  horses  were 
two  other  draped  figures,  one  male  and  one  female,  but 
they  are  mostly  lost,  only  the  lower  parts  remaining. 
This  vase  is  early  in  the  blackfigured  period,  about 
540  B.  C. 

Accession  No.  MS4833.  Height,  53.1  cm.  E.  H. 
H(all),  Museum  Journal,  IV,  1913,  pp.  149,  150,  Figs. 
129a  and  b,  and  pp.  151-52,  No.  3. 

No.  107.  A blackfigured  panel  amphora,  found  at  Orvieto,  and  put 
together  from  fragments.  The  obverse  shows  the  birth 
of  Athena  from  the  head  of  Zeus.  Zeus  is  seated  in  the 
centre  of  the  panel  in  his  throne,  facing  right.  Out  of 


74 


MEDITERRANEAN  SECTION 


his  head  comes  Athena,  fully  armed,  represented  as  very 
small.  In  front  of  him  at  the  right  are  two  female  divin- 
ities (flesh  white),  identified  as  Eileithyiai,  or  divinities 
presiding  over  childbirth;  behind  them  are  Ares  and 
Dionysos.  Behind  Zeus  are  Apollo,  playing  his  lyre; 
Poseidon,  with  his  trident;  a female  divinity,  either 
Artemis  or  Amphitrite,  the  wife  of  Poseidon ; and  Hermes. 
Under  the  throne  of  Zeus  is  a winged  human  figure,  with 
the  head  of  a dolphin. 

The  reverse  shows  a scene  of  departure.  A number 
of  warriors  surround  a chariot,  which  faces  the  right,  and 
is  driven  by  a draped  male  figure.  Behind  the  chariot 
are  two  warriors  and  a woman,  in  front  of  it  two  more 
warriors  and  another  woman,  with  a dog,  while  beside  it 
are  two  more  warriors,  two  bearded  male  figures,  and  a 
third  woman. 

Accession  No.  MS3440.  Height,  54  cm.  Furtwang- 
ler,  Sitzungsberichte  der  Akademie  zu  Munchen,  1905, 
p.  257,  No.  17.  E.  H.  H(all),  Museum  Journal,  III,  1912, 
pp.  68-75,  Figs.  36-38. 

No.  108.  A blackfigured  panel  amphora,  found  at  Orvieto,  and  put 
together  from  fragments.  The  obverse  shows  the  birth 
of  Athena  from  the  head  of  Zeus.  In  this  vase,  Athena 
stands  on  the  knee  of  Zeus,  who  is  seated  in  his  throne, 
facing  the  right.  He  holds  his  thunderbolt  in  his  right 
hand.  In  front  of  Zeus  is  an  Eileithyia,  or  divinity  pre- 
siding over  childbirth,  who  has  come  to  support  him  in 
his  travail.  Behind  her  is  Ares,  fully  armed.  Behind 
Zeus,  are  Apollo,  playing  his  lyre,  and  another  male 
divinity  who  cannot  be  identified,  as  most  of  him  is  lost. 
Under  the  throne  of  Zeus  is  a winged  female  figure,  prob- 
ably a Nike,  or  victory.  In  the  field  are  meaningless 
inscriptions. 

In  the  reverse,  Zeus  and  Athena  are  seen  seated  side 
by  side,  receiving  the  congratulations  of  the  other  gods. 
They  face  right,  and  in  front  of  them  stands  Ares,  with 
three  divinities,  two  male,  one  female,  whose  identification 
is  not  clear,  behind  him.  Behind  the  throne  are  Poseidon, 
with  his  trident,  accompanied  by  a female  divinity, 


75 


THE  UNIVERSITY  MUSEUM 


probably  his  wife,  Amphitrite.  Under  the  throne  of  Zeus 
is  a sphinx. 

Accession  No.  MS3441.  Height,  58.2  cm.  Furt- 
wangler,  Sitzungsberichte  der  Akademie  zu  Mtinchen,  1905, 
p.  257,  No.  16.  E.  H.  H(all),  Museum  Journal,  III,  1912, 
pp.  68-75,  Figs.  33-35. 

No.  138.  A blackfigured  panel  amphora,  of  unknown  provenance. 

On  the  obverse,  a warrior  is  seen,  mounting  his  chariot, 
which  faces  the  right.  Three  other  warriors  stand  facing 
him  beside  the  horses.  On  the  reverse,  is  a horseman, 
facing  the  left,  between  two  warriors.  This  vase  is  lent 
to  the  Museum  by  Mrs.  John  Kearsley  Mitchell. 

Accession  No.  Loan  G2.  Height,  43.6  cm.  S.  B. 
L(uce),  Museum  Journal,  VIII,  1917,  pp.  188-196,  Figs. 
73,  74.  A.  J.  A.,  XXII,  1918,  p.  83. 

No.  59.  A blackfigured  amphora  of  the  redbodied  type,  found 
at  Orvieto,  and  put  together  from  fragments.  This 
example  is  typical  of  the  best  blackfigured  period,  525 
B.  C.  On  the  obverse  is  Dionysos  at  the  left,  facing 
right,  a kantharos  in  his  left  hand.  Beside  him  is  a goat. 
In  front  of  him  is  a maenad,  facing  him,  who  dances  to 
the  accompaniment  of  the  castanets  which  she  holds  in 
her  hand.  On  the  reverse  side,  much  of  which  is  missing, 
is  Athena,  facing  right,  and  a maiden  in  front  of  her. 

Accession  No.  MS4834.  Height,  42.2  cm.  E.  H. 
H(all),  Museum  Journal,  IV,  1913.  pp.  152-53,  No.  5,  and 
Fig.  131. 

ATTIC  BLACKFIGURED  AND  REDFIGURED  VASES, 
AND  VASES  FROM  SOUTHERN  ITALY. 

Case  XIII. 

This  case  continues  the  collection  of  Attic  blackfigured  vases, 
and  then  brings  the  history  of  Greek  pottery  through  the  fifth  and 
fourth  centuries  B.  C.  Following  the  blackfigured  vases  come  the 
vases  where  the  reverse  technique  is  employed — the  vase  entirely 
covered  with  the  black  glaze  except  for  the  figures,  which  are  left  in 
the  color  of  the  clay.  The  redfigured  technique  represents  the  high- 
est achievement  of  the  Attic  potters  and  vase  painters,  and  the  most 
beautiful  specimens  in  the  collection  are  of  this  ware.  Beginning  in 


76 


MEDITERRANEAN  SECTION 


the  end  of  the  sixth  century  and  existing  side  by  side  with  the  black- 
figured  pottery  for  a short  period,  the  new  style  finally  drives  out  the 
old,  at  about  the  beginning  of  the  fifth  century  B.  C.,  and  continues 
throughout  the  century.  Details  are  here  given,  not  by  incised  lines, 
but  by  fine  lines  painted  freehand  on  the  figures.  Archaeologists 
can  trace  the  development  of  this  style,  by  means  of  the  draftsman- 
ship of  the  paintings,  and  are  enabled  to  date  the  vases  with  a 
fair  degree  of  accuracy.  Four  styles  are  distinguished — the  severe, 
or  archaic,  followed  by  the  strong,  or  ripe  archaic,  which  in  its 
turn  is  succeeded  by  the  free  or  fine  style,  which  degenerates  into 
the  late  fine  group.  Following  this  is  a class  that  are  usually  con- 
sidered Attic,  though  the  principal  finding  place  has,  up  to  now, 
been  in  the  Crimea.  Of  this  class  the  Museum  possesses  no 
examples,  (unless  the  pyxis  No.  131  in  Case  IX  is  to  be  classed 
as  such),  and  they  are  not  often  to  be  found  in  America.  The 
principal  makers  and  painters  of  redfigured  vases  are  Epiktetos, 
Cachcylion,  Euphronios,  Euthymides,  Phintias,  Duris,  Hieron, 
Makron,  Brygos,  Hermonax  and  Meidias. 

At  the  time  of  the  Peloponnesian  War,  the  free  style  was  in 
vogue  in  Athens,  and  was  even  then  losing  its  strength  and  vigor. 
Of  course  that  war  stopped  all  export  of  vases  from  Athens,  which 
was  herself  losing  her  grip  on  the  supremacy  in  ceramics.  The 
scene  then  shifts  to  Southern  Italy  where  Greek  colonists  were 
firmly  ensconced  in  Campania,  Lucania  and  Apulia.  Vases  began 
to  be  made  in  great  numbers  in  these  colonies,  and  soon  four  distinct 
styles  of  South  Italian  vases  can  be  identified — each  of  the  sections 
above  named  having  its  own  peculiar  ware,  while  the  fourth  style, 
known  to  archaeologists  as  the  School  of  Paestum,  is,  both  geograph- 
ically and  stylistically,  close  to  the  Campanian  ware.  Makers  of 
vases  of  this  technique  sometimes  sign  their  works — the  principal 
name  to  remember  being  that  of  Assteas — but  the  other  South 
Italian  vases  are  rarely,  if  ever,  signed. 

The  vases  from  Lower  Italy  on  view  in  the  Museum  are  nearly 
all  of  the  Apulian  technique,  which  is  by  far  the  commonest  of  the 
four  styles,  and  the  centres  of  manufacture  for  which  seem  to  have 
been  Tarentum  and  Rubii  (now  known  as  Taranto  and  Ruvo  di 
Puglia).  There  are  a few  specimens  also  which  may  be  Campanian, 
but  it  is  admittedly  hard  in  many  instances  to  distinguish  the  Camp- 
anian from  the  Apulian  vases. 

After  the  middle  of  the  fourth  century  B.  C.,  the  South  Italian 


77 


THE  UNIVERSITY  MUSEUM 


vases  begin  to  deteriorate  in  artistic  excellence,  and  give  place  to 
vases  made  from  moulds,  the  types  known  as  Megarian  bowls  and 
Calene  phialae  being  the  principal  examples. 

The  vases  in  this  case  will  be  described,  beginning  with  the 
three  left  hand  shelves  from  top  to  bottom,  then  the  two  central 
shelves,  and  then  the  three  right  hand  shelves,  the  vases  at  the 
bottom  being  the  last  to  be  discussed. 

No.  86.  Three  undecorated  Attic  vases,  completely  covered  with 
the  black  glaze.  Two  are  known  as  lekanae  and  are  in 
perfect  preservation;  their  provenance  is  uncertain.  The 
third,  an  alabastron,  was  found  at  Orvieto  and  put 
together  from  fragments,  and  a good  deal  of  it  is  missing. 

Accession  Nos.  of  the  lekanae,  MS409  and  MS410. 
Heights  5.4  and  5 cm.  respectively;  diameters,  12.6  and 
12.1  cm.  respectively.  No.  of  the  alabastron,  MS4920. 
Height  18.8  cm.,  diameter,  6.8  cm. 

No.  79.  A small  Attic  white  lekythos,  said  to  have  been  found  in 
Attica.  The  design,  in  black  on  the  cream  colored  slip, 
is  of  a girl,  sitting  in  a chair,  facing  right,  making  a wreath. 
In  front  of  her  is  a large  basket.  Above  her  head  is  a 
serpent.  This  vase  is  early  in  the  redfigured  period,  or 
rather,  the  period  of  the  white  lekvthoi,  and  belongs  at 
about  475  B.  C. 

Accession  No.  MS5314.  Height  13.5  cm.,  diameter  5 cm. 
Formerly  in  the  Lamborn  collection. 

No.  128.  An  Attic  white  lekythos,  said  to  have  come  from  Athens 
itself.  These  vases  are  only  found  in  tombs,  and  were  used 
cnly  for  funeral  purposes.  This  vase  is  fairly  early  in  this 
type,  as  it  corresponds  with  the  end  of  the  strong  style 
of  the  redfigured  technique,  or  about  465  B.  C.  It  bears 
the  dedicatory  inscription,  AI44AOS  KAAO,  “ Diphilos  is 
fair.”  Many  of  these  white  vases  have  been  found  bearing 
this  name,  and  it  has  been  shown  that  they  are  all  by  the 
same  hand.  The  subject  of  this  vase  is  a seated  woman, 
stringing  a necklace  of  beads,  while  before  her  stands 
another  woman,  with  a basket  of  offerings.  On  the  wall 
hang  a pitcher,  a mirror,  and  a sakkos.  Acquired  in  1916. 

Accession  No.  MS5463.  Height,  38.5  cm.  Formerly 
in  Borelli  Bey  Collection;  sale  catalogue,  No.  223,  and 


78 


MEDITERRANEAN  SECTION 


PI.  XXIII.  S.  B.  L(uce),  Museum  Journal,  VIII,  1917, 
pp.  21-25,  Figs.  3,  4.  A.  J.  A.,  XXI,  1917,  pp.  352-53,  No. 
3.  Luce,  A.  J.  A.,  XXIII,  1919,  pp.  19-32  (attributes  to 
Beazley’s  Achilles  master). 

No.  84.  An  Attic  white  lekythos,  acquired  by  exchange  with  the 
National  Museum  in  Athens.  This  example  is  later  than 
No.  128,  and  belongs  in  the  second  half  of  the  fifth  century 
B.  C.  On  the  white  ground  are  painted  designs  in  poly- 
chrome, showing  a man  and  a woman  bringing  gifts  to  a 
stele,  or  tombstone.  These  designs,  which  were  originally 
rendered  in  a bright  polychromy  on  a chalky  white  slip, 
have  largely  rubbed  off. 

Accession  No.  MS5291.  Height,  30.6  cm.  S.  B. 
L(uce),  Museum  Journal,  VIII,  1917,  pp.  23-25.  A.  J.  A.. 
XXI,  1917,  pp.  352-53,  No.  4. 

No.  132.  A small  redfigured  skyphos  from  Athens,  of  the  late 
fine  style,  having  on  the  obverse  Dionysos,  seated,  facing 
the  left,  with  a woman  standing  in  front  of  him.  On  the 
reverse  is  a maenad,  standing,  with  a thyrsos  in  her 
hand,  facing  the  left,  with  an  Eros  in  front  of  her. 

Accession  No.  MS5468.  Height,  5.8  cm.  S.  B. 
L(uce),  Museum  Journal,  VIII,  1917,  p.  187. 

No.  121.  An  Attic  redfigured  pelike,  found  at  Orvieto,  and  put 
together  from  fragments.  The  designs  are  in  panels  on 
the  front  and  back.  They  are  of  the  same  general  char- 
acter on  both  sides,  being  of  Dionysos  and  a satyr. 
Much  of  the  reverse  is  missing,  and  what  remains  is  in 
poor  preservation.  The  obverse  shows  Dionysos  at  the 
right,  with  his  head  turned  to  the  left,  with  a branch  of 
a vine  in  one  hand,  and  a kantharos  in  the  other.  At  the 
left,  moving  to  the  right,  is  a satyr,  nude,  who  holds  a 
pitcher  in  his  right  hand,  and  with  his  left  holds  the  neck 
of  a wine  skin,  which  he  carries  over  his  shoulder.  On 
the  reverse  the  same  painting  seems  to  have  been  shown, 
but  the  satyr  is  there  represented  as  running  away. 
This  vase  belongs  to  the  period  between  480  and  460  B.  C. 

Accession  No.  MS3443.  Height,  37.1  cm.  Beazlev, 
Attic  Red  Figured  Vases  in  America,  p.  61  (attributes  to 
his  Troilos  painter) ; Hoppin,  Handbook  of  Attic  Red 
Figured  Vases,  Vol.  II,  p.  457,  No.  12. 


79 


THE  UNIVERSITY  MUSEUM 


No.  83.  A redfigured  cup  with  one  handle.  The  sole  decoration  of 
this  little  cup  is  a design  of  an  athlete,  nude,  leaning 
forward,  with  his  arms  stretched  toward  the  ground. 
He  is  facing  the  right.  This  design  is  drawn  with  a 
delicacy  and  restraint  that  puts  this  vase  in  the  period 
between  450  and  430  B.  C. — the  fine  style  of  the  Attic 
redfigured  technique.  Its  provenance  is  not  known. 

Accession  No.  MS2272.  Height,  8.3  cm. 

No.  81.  A redfigured  kylix,  found  at  Chiusi.  Only  the  interior  is 
decorated.  A nude  athlete  runs  to  the  right;  behind 
him,  at  the  left  of  the  scene  is  a chest,  while  a pair  of 
halteres,  or  jumping  weights,  lie  on  the  ground  by  his 
feet.  The  vase  painting  can  be  surely  assigned  to  the 
painter  Makron,  who  flourished  in  the  period  between  480 
and  460  B.  C.,  and  who  painted  most  of  the  vases  that  are 
signed  by  the  potter  Hieron. 

Accession  No.  MS2515.  Height,  8.4  cm.,  diameter, 
19.1  cm.  Bcazley,  Attic  Red  Figured  Vases  in  America, 
p.  101,  and  p.  106,  No.  95.  Hoppin,  Handbook  of  Attic 
Red  Figured  Vases,  Vol.  II,  p.  107,  No.  1 10. 

No.  72.  An  oenochce,  put  together  frcm  fragments  found  at  Orvieto, 
but  of  which  the  greater  part  is  missing.  The  vase  is  of 
the  very  early  blackfigured  style,  and  seems  to  be  Attic, 
showing  strong  Chalcidian  influence.  The  scene  is  the 
pursuit  of  Troilos  by  Achilles.  Polyxena  flees  to  right, 
on  foot,  followed  by  Troilos  on  horseback.  Under  the 
horse  of  Troilos  is  a hydria,  that  Polyxena  has  dropped  in 
her  flight.  Achilles,  fully  armed  (only  his  head  and  legs 
are  preserved)  pursues  them  on  foot.  A curious  feature, 
but  not  uncommon  with  these  early  vases,  is  that  the 
horse  of  Troilos  is  drawn  with  eight  legs.  This  vase  should 
be  studied  in  connection  with  No.  41,  in  Case  VIII,  as  it 
continues  the  tale  begun  there. 

Accession  No.  MS4857.  Too  fragmentary  for 
accurate  measurements  to  be  made. 

No.  82.  A redfigured  kylix,  found  at  Chiusi,  and  of  the  period  of 
the  artist  Euphronios,  though  not  by  his  hand.  It  there- 
fore belongs  at  about  480  B.  C.,  or  a little  later.  Only 
the  interior  is  decorated.  A youth,  draped  in  a small 
chiton,  moves  to  the  right.  He  is  obviously  going  to 


so 


MEDITERRANEAN  SECTION 


sacrifice,  probably  to  Demeter.  He  holds  with  his  right 
hand  a pig,  by  the  left  hind  foot.  This  is  the  animal  that 
is  always  sacrificed  to  Demeter  at  the  famous  Eleusinian 
Mysteries.  The  object  that  he  holds  in  his  left  hand 
appears  to  be  one  of  the  curious  sacrificial  implements 
usually  described  as  trays  or  baskets  for  first  fruits,  that 
are  often  found  on  Greek  vase  paintings.  Around  him  is 
the  inscription  O PAIS  KAAOS. 

Accession  No.  MS2448.  Height,  9.3  cm.;  diameter, 
24.1  cm.  Bates,  Transactions,  Dept,  of  Archaeology,  Uni- 
versity of  Pennsylvania,  Vol.  II.  Part  II,  1907,  pp.  144-46, 
No.  3,  and  PL  XXXVI.  A.  J.  A.,  XI,  1907,  p.  57.  E.  H. 
H(all),  Museum  Journal,  IV,  1913,  pp.  162-63,  Fig.  140. 
A.  J.  A.,  XIX,  1915,  p.  77.  Beazley,  Attic  Red  Figured 
Vases  in  America,  p.  Ill  (attributes  to  his  Lysis,  Lykos 
and  Laches  group).  Hoppin,  Handbook  of  Attic  Red  Fig- 
ured Vases,  Vol.  II,  p.  170,  No.  22. 

No.  40.  A small  oenochoe,  or  pitcher,  of  the  blackfigured  style, 
showing  both  Attic  and  Chalcidian  characteristics,  and 
probably  to  be  considered  a late  product  of  the  latter 
style.  Found  at  Orvieto,  and  put  together  from  fragments. 
At  the  left,  two  sphinxes  are  seated,  facing  each  other, 
while  at  the  right,  two  centaurs  are  represented,  fleeing 
towards  the  right.  The  vase  is  in  very  fragmentary 
condition. 

Accession  No.  MS4835.  E.  H.  H(all),  Museum  Jour- 
nal, V,  1914,  pp.  229-230,  Fig.  116. 

No.  80.  A redfigured  kylix,  found  at  Orvieto,  and  put  together  from 
fragments.  The  interior  only  is  decorated.  It  consists 
of  a boy,  seated,  facing  right,  draped  in  a himation,  either 
writing  or  drawing  with  a stylus  on  a tablet.  This  vase 
probably  should  be  placed  at  about  470  B.  C. 

Accession  No.  MS4842.  Height,  7.7  cm.;  diameter, 
20.8  cm.  E.  H.  H(all),  Museum  Journal,  IV,  1913,  pp.  1 56— 
157,  No.  10,  Fig.  134.  Beazley,  Attic  Red  Figured  Vases 
in  America,  p.  46  (attributes  to  his  Eucharides  painter). 
Hoppin,  Handbook  of  Attic  Red  Figured  Vases,  Vol.  I, 
p.  360,  No.  21. 

Nos.  73-76.  Four  covered  bowls,  of  the  blackfigured  technique, 
found  at  Orvieto.  They  are  noteworthy  chiefly  for  their 


81 


THE  UNIVERSITY  MUSEUM 


shape,  which  is  most  unusual  among  Greek  vases.  The 
style  is  in  the  middle  of  the  blackfigured  period.  By 
great  good  fortune  a bowl  of  this  shape  in  the  Archaeolog- 
ical Museum  in  Florence  bears  the  signature  of  the  maker, 
Nikosthenes,  one  of  the  most  prolific  of  all  the  potters  of 
Athens,  and  who  worked  in  both  the  blackfigured  and 
redfigured  techniques.  No  less  than  a hundred  or  more 
vases  and  fragments  are  known  which  bear  his  signature. 
It  is,  therefore,  quite  possible  to  attribute  unsigned  vases 
to  his  hand,  through  the  study  of  all  this  material.  These 
four  bowls,  which  may  have  been  used  for  sweetmeats, 
have  many  resemblances  to  some  of  the  work  of  Nikos- 
thenes, and  may  perhaps  be  by  him.  Each  one  wall  be 
described  in  detail. 

Accession  Nos.  MS3437,  MS3438,  MS3439,  and 

MS4868.  E.  H.  D(ohan),  Museum  Journal,  VI,  1915,  pp. 
173-179,  Figs.  94-98.  A.  J.  A.,  XX,  1916,  p.  487,  Fig.  1. 

No.  73.  On  the  body  is  a continuous  frieze  of  youths,  men,  and 
maidens  in  conversation.  The  cover  has  a design  of  a 
warrior  on  foot  attacking  a horseman,  four  times  repeated. 

Accession  No.  MS3438.  Height,  21.9  cm.;  diameter, 
17.1  cm.  Published,  lcc.  cit . , p.  176,  Fig.  96  (cover  only). 

No.  74.  The  body  is  decorated  with  a scene  similar  to  that  on  No. 

73,  a continuous  frieze  of  youths,  maidens,  and  old  men. 
The  cover  has  a design  of  horsemen,  men  and  maidens. 

Accession  No.  MS3439.  Height,  22  cm.;  diameter, 
17  cm.  Published  loc.  cit.,  p.  174,  Fig.  94  (body  only). 

No.  75.  Very  fragmentary.  On  the  body  is  a continuous  frieze, 
representing  an  assemblage  of  the  gods,  of  whom  Iris, 
Zeus,  Ares,  and  Hermes  can  be  definitely  recognized. 
The  cover  is  decorated  with  a band  of  galloping  horsemen, 
going  to  the  right. 

Accession  No.  MS4868.  Height,  20.5  cm.;  diameter, 
18.3  cm.  Published,  loc.  cit.,  p.  178,  Fig.  98  (body  only; 
identified  as  a Birth  of  Athena  scene  on  insufficient  evi- 
dence). 

No.  76.  The  body  of  this  bowl  is  decorated  with  a continuous  frieze, 
showing  Dionysos  with  his  band  of  satyrs  and  maenads. 
On  the  cover  is  a design  of  horsemen,  warriors  fighting,  old 
men,  and  maidens. 


82 


MEDITERRANEAN  SECTION 


Accession  No.  MS3437.  Height,  23.6  cm.;  diam- 
eter, 18.5  cm.  Published,  loc.  cit . , p.  175,  Fig.  95  (body) 
and  p.  177,  Fig.  97  (cover). 

An  outline  drawing  of  a covered  bowl  of  this  shape 
signed  by  Nikosthenes,  in  the  Villa  Giulia  at  Rome,  can  be 
found  in  Hoppin,  Handbook  of  Attic  Red  Figured  Vases, 
Vol.  II,  p.  231.  See  also  Perrot  and  Chipiez  Historie  de 
l’Art  dans  l’Antiquite,  Vol.  X (La  Cevamique  d’Athenes) 
p.  261,  Fig;  165. 

No.  91.  An  Apulian  oenochce.  The  design  is  of  two  women,  one 
seated,  facing  left,  with  a basket  in  her  right  hand,  and 
one  standing  in  front  of  her.  It  is  quite  characteristic  of 
the  height  of  the  Apulian  style,  of  the  fourth  century  B.  C. 

Accession  No.  MS4801.  Height  23.1  cm. 

No.  87.  A deep  bowl,  or  phiale,  found  at  Corneto-Tarquinia.  It  is 
probably  of  South  Italian  manufacture,  and  belongs  in 
the  fifth  century  B.  C.  In  the  interior  is  a gorgon’s  head, 
and,  outside,  a design  of  ivy  leaves. 

Accession  No.  MS1754.  Height,  7.7  cm.;  diameter, 
20.7  cm.  E.  H.  H(all),  Museum  Journal,  V,  1914,  p.  216, 
Figs.  105,  106. 

No.  93.  A crude  pelike,  either  Apulian  or  Campanian,  but  probably 
the  former.  On  one  side  is  a nude  youth,  on  the  other, 
a woman. 

Accession  No.  MS4010.  Height,  15.5  cm. 

No.  92.  An  Apulian  lekythos  of  the  late  fifth  century  B.  C.,  with  a 
design  of  a nude  youth  seated  on  a rock,  facing  left. 
Notice  the  globular  shape,  so  different  from  such  vases 
as  Nos.  77,  79,  or  84.  The  provenance  is  not  known. 
This  shape  of  vase,  known  as  an  aryballic  lekythos,  is 
found  in  Attica  as  well  as  in  Southern  Italy. 

Accession  No.  MS412.  Height,  14.1  cm. 

No.  89.  An  Apulian  pyxis,  or  toilet  box,  with  a cover.  The  deco- 
ration consists  of  a woman’s  head,  profile  to  left,  on  the 
cover,  with  a rough  palmette  decoration.  On  the  body  is 
a wave  maeander  pattern.  The  provenance  is  unknown. 

Accession  No.  MS3425.  Height,  12.5  cm. 

No.  88.  An  Apulian  pelike,  said  to  have  been  found  at  Rugge. 

This  vase  is  fairly  early  in  the  Apulian  style,  and  seems  to 
belong  at  the  end  of  the  fifth  century  B.  C.  On  the  obverse 


83 


THE  UNIVERSITY  MUSEUM 


is  a youth,  nude,  with  a chlamys,  or  cloak,  thrown  shawl 
fashion  over  his  left  arm,  and  a pail  in  his  right  hand. 
He  faces  left,  towards  a maiden,  who  is  draped  in  a 
chiton,  with  kolpos,  who  is  looking  at  him.  On  the  reverse 
are  two  draped  youths,  facing  each  other. 

Accession  No.  MS4007.  Height,  30.9  cm. 

No.  85.  An  Attic  oenochoe,  in  the  form  of  the  head  of  a woman, 
made  in  the  redfigured  period,  or  in  the  fifth  century 
B.  C.  Around  the  head  is  painted  a wreath  of  ivy  leaves. 
Its  provenance  is  unknown.  Beside  it  has  been  put  a 
toy  pitcher  of  the  same  variety. 

Accession  No.  of  large  oenochoe,  MS5409.  Height  19.2 
cm.  Accession  No.  cf  toy  oenochoe,  MS274.  Height,  2.9  cm. 

No.  90.  An  Apulian  askos  (so  called  from  a fancied  resemblance  to 
a wine  skin),  decorated  with  a myrtle  leaf  pattern. 
Provenance  unknown. 

Accession  No.MS407.  Height,  8.7  cm. ; diameter,  9.3  cm. 

No.  44.  An  Italo-Ionian  amphora,  that  is  a vase  made  in  Italy  in 
imitation  of  the  Ionian  pottery.  In  shape  it  bears  a 
close  resemblance  to  the  Tyrrhenian  amphorae,  but  the 
technique  is  somewhat  different,  and  bears  a distant  rela- 
tion to  the  class  sometimes  known  as  Pontic  vases.  It 
was  found  at  Orvieto,  and  belongs  in  the  sixth  century  B.  C 
The  obverse  and  reverse  have  the  same  decoration,  in 
panels  high  on  the  body.  On  the  neck  and  below  the 
principal  design  are  bands  of  palmettes  and  lotuses.  The 
principal  design  in  each  case  is  of  a horseman,  riding  to 
left,  pursuing  a deer,  which  is  standing  on  its  hind  legs. 

Accession  No.  MS2491.  Height,  33.6  cm.  Furt- 
wangler,  Sitzungsberichte  der  Akademie  zu  Munchen,  1905, 
p.  257,  No.  13.  E.  H.  H(all),  Museum  Journal,  V,  1914, 
pp.  222-226,  Fig.  113. 

No.  57.  An  Italo-Ionian  amphora,  with  designs  in  panels.  The 
shape  is  graceful  enough,  but  the  execution  is  careless, 
and  shows  a deplorable  lack  of  skill.  The  lid  is  preserved, 
and  rests  on  the  vase.  The  vase  has  been  overfired,  hence 
the  figures  and  body,  instead  of  appearing  black,  have 
come  out  red.  On  the  neck  is  a zigzag  decoration;  on  the 
bcdy,  on  one  side,  is  a warrior,  nude,  charging  to  right, 
with  a shield  in  his  left  hand.  On  the  other  side  is  a 


84 


MEDITERRANEAN  SECTION 


horse,  facing  right.  This  vase  was  found  at  Orvieto,  and 
belongs  in  the  sixth  century  B.  C.  It  represents  the  last 
period  of  Italo-Ionian  art,  and,  though  of  no  artistic  beauty, 
has  a certain  archaeological  value. 

Accession  No.  MS2490.  Height,  29  cm.  E.  H.  H(all), 
Museum  Journal,  V,  1914,  pp.  222-226,  Figs.  Ill,  112. 

No.  94.  An  Apulian  krater,  or  mixing  bowl,  of  the  shape  known  as 
a bell  krater.  This  shows  the  typical  Apulian  decoration 
for  fairly  large  vases.  The  principal  side  shows  a nude 
youth,  standing  before  a seated  maiden.  He  is  wreathed 
and  garlanded,  and  holds  a mirror  in  his  right  hand.  The 
maiden  sits  facing  him;  the  upper  part  of  her  body  is 
nude,  and  is  rendered  in  white.  Her  garment  is  thrown 
across  her  knees.  She  offers  food  to  the  youth  from  a 
basket  in  her  left  hand.  Her  hair  is  very  elaborately 
dressed.  The  drawing  shows  great  freedom  and  knowledge 
on  the  part  of  the  painter;  but  this  knowledge  has  led  to 
decadence,  and  to  a lack  of  vitality,  which  makes  this 
vase  less  pleasing  than  the  Attic  vases  of  a century  earlier. 
Fourth  century  B.  C. 

Accession  No.  MS4806.  Height,  35  cm. 

No.  123.  An  Attic  redfigured  stamnos,  or  amphora  with  side  handles 
like  those  of  a hydria.  The  provenance  is  unknown;  it 
was  acquired  by  purchase  in  fragments  in  1911,  and  put 
together  in  the  Museum.  The  obverse  shows  the  departure 
of  a warrior.  He  stands  in  the  centre,  facing  the  left.  He 
wears  a short  chiton,  and  a chlamys,  or  cloak,  and  is 
armed  with  a helmet,  round  shield  (with  the  device  of  a 
lion)  and  spear.  In  front  of  him  is  a youth  dressed  for  a 
journey,  with  a cloak  and  traveling  hat,  or  petasos,  and 
two  spears.  Behind  the  warrior  is  a woman,  perhaps  his 
wife.  She  faces  towards  him  and  holds  an  oenochoe  in 
her  right  hand,  and  a kylix  in  her  left.  She  wears  a long 
chiton  and  himation.  On  the  shield  of  the  warrior  is  the 
inscription  KAAOS,  “handsome;”  between  him  and  the 
woman  the  inscription  KAAE,  referring  to  the  woman. 
The  reverse  has  in  the  centre  a woman,  facing  the  left, 
draped  in  a long  chiton,  holding  a kylix  in  her  right  hand. 
On  either  side  of  her  stands  a draped  youth,  facing  towards 
her.  This  vase  belongs  to  the  fine  style  of  the  red- 


85 


THE  UNIVERSITY  MUSEUM 


figured  technique,  450-420  B.  C.,  which  corresponds 
roughly  to  the  Age  of  Perikles. 

Accession  No.  MS4830.  Height,  37  cm.  E.  H.  H(all), 
Museum  Journal,  V,  1914,  pp.  38-42,  Figs.  21,  22  (attrib- 
utes to  maker  of  vases  in  Munich  and  Petrograd,  called 
by  Beazley  the  Kleophon  painter).  Beazley,  Attic  Red 
Figured  Vases  in  America,  p.  171  (attributes  to  his  Hek- 
tor  painter).  Hoppin,  Handbook  of  Attic  Red  Figured 
Vases,  Vol.  II,  p.  14,  No.  5. 

No.  125.  An  Attic  redfigured  kelebe  from  Chiusi.  On  the  obverse 
are  two  athletes,  nude,  in  conversation  with  their  trainer, 
who  stands  in  the  centre,  with  his  head  turned  to  the  left, 
and  whom  they  face.  They  are  gesticulating  with  their 
hands.  The  trainer  is  draped  in  a long  himation,  and 
carries  a staff;  he  moves  to  right,  with  his  head  turned  to 
left.  The  reverse  shows  two  nude  athletes  exercising. 
This  vase  was  painted  between  475  and  465  B.  C. 

Accession  No.  MS2465.  Height,  39.8  cm.  Beazley, 
Attic  Red  Figured  Vases  in  America,  p.  59,  No.  8.  Hop- 
pin,  Handbook  of  Attic  Red  Figured  Vases,  Vol.  I,  p.  453, 
No.  9.  (Both  Beazley  and  Hoppin  attribute  this  vase  to 
the  socalled  Flying  Angel  Painter.) 

Nos.  95,  96.  These  two  vases,  both  amphorae,  were  found  at  Orvieto. 

They  are  very  rare  and  unusual;  and  although  they  were 
found  on  an  Etruscan  site,  seem  to  be  of  South  Italian 
make,  probably  late  Apulian.  The  place  of  their  manufac- 
ture was  probably  Canusium  (the  modern  Canosa  di 
Puglia).  They  belong  at  the  end  of  the  fourth  century 
B.  C.,  or  the  beginning  of  the  third.  Most  of  the  designs 
have  worn  away,  but  they  consisted  of  decorative  patterns, 
such  as  palmettes  and  other  floral  decorations.  The 
handles  are  moulded,  and  decorated  in  polychrome,  and 
end  in  the  heads  of  sea  horses. 

Accession  Nos.  MS2510,  MS2511.  Heights,  64.1  and 
39.8  cm.,  respectively. 

No.  124.  An  Attic  redfigured  kelebe,  found  at  Chiusi.  On  the 
obverse  of  the  vase  a banquet  is  depicted.  Two  bearded 
men  recline  on  couches,  facing  left,  each  with  a small  table 
in  front  of  him,  on  which  the  good  things  are  spread. 
Between  the  two  couches  a third  bearded  man  stands, 


86 


MEDITERRANEAN  SECTION 


facing  the  right,  playing  the  double  flute.  On  the  back 
are  three  youths  in  mantles,  conversing.  This  vase  is  of 
the  same  period  as  No.  125,  i.  e.,  475-465  B.  C. 

Accession  No.  MS2464.  Height,  39.8  cm. 

No.  122.  An  Attic  redfigured  stamnos,  found  at  Orvieto,  and  put 
together  from  fragments.  The  subject,  of  athletes  in  the 
palaestra,  or  gymnasium,  is  interesting.  There  is  a discus 
thrower  in  the  centre,  facing  right,  about  to  throw  his 
discus;  behind  him  is  another  athlete,  with  a jumping 
weight  in  his  left  hand,  and  his  right  arm  extended  behind 
him.  Both  of  these  athletes  are  nude.  In  front  of  the 
discus  thrower  stands  the  trainer,  face  to  the  front,  draped 
in  a himation,  and  carrying  his  long  staff,  with  which  he 
was  accustomed  to  beat  youths  who  were  unskilful  or 
disobedient.  At  the  right  is  a flute  player,  facing  the  left, 
playing  his  flute,  that  the  young  athletes  might  do  their 
exercises  in  cadence.  At  each  end  of  the  scene  is  a column, 
indicating  the  wall  of  the  palaestra.  Most  of  the  reverse 
is  missing,  but  it  portrayed  a similar  scene.  Here  again 
there  are  two  trainers  and  two  athletes,  one  of  whom  may 
be  another  discus  thrower.  This  vase  was  painted  about 
470  B.  C. 

Accession  No.  MS4872.  Height  36.5  cm.  E.  H. 
H(all),  Museum  Journal,  IV,  1913,  pp.  157-59,  No.  11, 
Fig.  135.  Beazley,  Attic  Red  Figured  Vases  in  America, 
p.  39  (attributes  to  the  school  of  his  Master  of  the 
Berlin  Amphora).  Hoppin,  Handbook  of  Attic  Red 
Figured  Vases,  Vol.  I,  p.  73,  No.  91. 

No.  137.  An  Apulian  bell  krater,  of  unknown  provenance,  lent  to 
the  Museum  by  Mrs.  John  Kearsley  Mitchell.  This  is 
of  earlier  date  than  No.  94,  and  more  closely  resembles 
Attic  ware.  On  the  obverse  is  a youth,  seated,  facing  the 
right.  He  is  nude,  and  his  garment  rests  on  the  rock  on 
which  he  sits.  He  holds  a kylix  in  his  left  hand.  In 
front  of  him  stands  a satyr,  nude,  facing  the  left.  Behind 
the  youth  is  a maiden.  The  youth  may  be  the  youthful 
Dionysos.  On  the  reverse  are  two  draped  young  men. 

Accession  No.  Loan  G3.  S.  B.  L(uce),  Museum  Jour- 
nal, VIII,  1917,  pp.  188-96,  Figs.  75.  76.  A.  J.  A.,  XXII, 
1918,  p.  83. 


87 


THE  UNIVERSITY  MUSEUM 


BLACKFIGURED  AND  REDFIGURED  KYLIKES. 

Case  XV. 

The  kylix,  or  drinking  cup,  was  the  favorite  shape  of  the  Greek 
vase  painters.  On  it  they  put  their  very  best  work,  and  to  many  of 
these  vases  they  signed  their  names,  with  as  much  conscious  pride 
as  any  artist  of  today  would  show  in  signing  one  of  his  canvases. 
The  large,  almost  flat,  surfaces  of  the  exterior  give  the  painter  plenty 
of  space  for  original  and  pleasing  compositions,  while  in  the  interior 
the  usual  treatment  is  to  leave  the  whole  in  the  black  glaze,  save  for 
a medallion  in  the  centre,  in  which  a small  scene  is  rendered.  We  have 
seen  kylikes  in  the  preceding  case  (Case  XIII)  and  some  fragments 
also  in  Case  IX. 

On  the  earlier  blackfigured  kylikes,  it  will  be  noticed  that  a 
large  part  of  the  decoration  consists  of  eyes,  painted  in  black  and 
white  on  the  sides  of  the  vase.  These  eyes  are  known  as  prophy- 
lactic eyes,  and  were  doubtless  put  on  the  cups  to  avert  the  evil 
eye  from  the  user.  In  Case  IX,  No.  51,  a similar  example  from 
Ionia  may  be  seen. 

The  vases  will  be  described  beginning  with  the  top  shelf,  and 
going  from  left  to  right. 

No.  66.  A blackfigured  kylix,  with  prophylactic  eyes.  The  interior 
is  undecorated.  On  the  exterior,  between  the  eyes,  are, 
on  one  side,  two  nude  youths,  about  to  start  wrestling,  and, 
on  the  other,  another  nude  youth  before  a sphinx,  sugges- 
tive of  the  story  of  Oedipus  and  the  Sphinx.  From  Orvieto. 

Accession  No.  MS2497.  Height,  9 cm.;  diameter, 
22.8  cm. 

No.  68.  A small  blackfigured  kylix  on  a low  foot,  similar  to  No. 

67.  Its  exterior  is  decorated  with  two  dancing  satyrs 
and  maenads,  carelessly  drawn,  on  each  side.  The  prove- 
nance is  unknown. 

Accession  No.  MS417.  Height,  9.1  cm.;  diameter, 
21.5  cm. 

No.  97.  A redfigured  kylix,  found  at  Orvieto.  It  dates  at  about 
460  B.  C.  The  workmanship  is  careless,  and  the  subjects 
uninteresting.  In  the  interior  are  two  youths  draped  in 
himatia,  facing  each  other  and  conversing.  The  exterior 


88 


MEDITERRANEAN  SECTION 


has,  on  each  side,  a design  of  three  young  men,  similarly 
draped,  engaged  likewise  in  conversation. 

Accession  No.  MS2496.  Height,  7.2  cm.;  diameter, 
22.3  cm.  Beazley,  Attic  Red  Figured  Vases  in  America, 
p.  132  (attributes  to  the  Penthesilea  master).  Hoppin, 
Handbook  of  Attic  Red  Figured  Vases,  Vol.  II,  p.  348, 
No.  46. 

No.  64.  An  Attic  blackfigured  kylix,  found  at  Orvieto,  and  put 
together  from  fragments.  It  is  a beautiful  example  of 
unusual  size.  It  has  the  design  of  prophylactic  eyes,  that 
is  found  on  No.  51  in  Case  IX,  and  on  Nos.  65  and  66  in 
this  case,  but  this  vase  is  Attic,  not  Ionic.  This  is  proven 
by  the  color  of  the  clay,  which  is  redder  than  in  the 
Ionic  vases,  and  also  by  the  bolder  drawing  of  the  Attic 
painter,  who  retains  the  conventional  nose,  but  does  away 
with  the  ears  that  are  seen  on  the  Ionic  example.  In  the 
case  of  this  vase,  the  bunches  of  grapes  around  the  handles 
are  a peculiarly  Attic  touch.  This  vase  was  made  in  the 
neighborhood  of  525  B.  C. 

Accession  No.  MS4851.  Height,  12.2  cm.;  diameter, 
30.5  cm.  E.  H.  H(all),  Museum  Journal,  IV,  1913,  p.  155, 
No.  8,  and  Fig.  133. 

No.  104.  An  Attic  redfigured  kylix,  found  either  at  Cortona  or  at 
Chiusi.  In  the  inside  a draped  youth  stands,  facing  the 
right,  making  offerings  at  a herm,  or  wayside  image  of 
a god,  corresponding  to  the  wayside  shrines  found  today 
in  Italy  and  Greece.  On  the  outside  the  same  design, 
of  a winged  Nike,  or  Victory,  flying  to  left,  between  two 
youths  draped  in  himatia,  is  repeated  on  both  sides.  The 
execution  is  careless  and  poor,  and  the  vase  dates  about 
460  B.  C. 

Accession  No.  MS2440.  Beazley,  Attic  Red  Figured 
Vases  in  America,  p.  132  (attributes  to  the  Penthesilea 
master).  Hoppin,  Handbook  of  Attic  Red  Figured 
Vases,  Vol.  II,  p.  347,  No.  44. 

No.  67.  A blackfigured  kylix  on  a low  foot,  of  unknown  provenance. 

That  it  is  of  later  date  than  the  eye  kylikes  is  shown  by 
its  careless  execution.  Its  interest  is  derived  from  the 
subject  that  it  portrays  on  both  sides;  the  rape  of  the  sea 
nymph  Thetis  by  Peleus.  Peleus  faces  the  right;  he 


89 


THE  UNIVERSITY  MUSEUM 


grasps  Thetis  round  the  waist.  On  either  side  is  a Nereid, 
who  is  running  away  in  terror.  From  this  union  was  born 
the  hero  Achilles.  This  subject  is  repeated  on  the  reverse. 

Accession  No.  MS418.  Height,  9 cm.;  diameter, 
19.2  cm. 

No.  65.  An  Attic  blackfigured  kylix,  of  the  regular  type  with 
prophylactic  eyes.  In  the  interior  there  is  a gorgon’s 
head,  bearded;  while  both  sides  of  the  exterior  have  the 
same  design,  a garlanded  helmet  between  the  two  eyes, 
with  bunches  of  grapes  between  the  eyes  and  the  handles. 
Found  at  Orvieto. 

Accession  No.  MS2498.  Height,  8.6  cm. ; diameter, 
22  cm. 

No.  103.  A redfigured  kylix  of  uncertain  provenance,  probably  from 
Chiusi  or  Cortona.  It  is  put  together  from  a number  of 
fragments,  and  is  important,  not  only  for  the  subjects 
shown,  but  for  the  fact  that  it  bears  the  dedicatory  inscrip- 
tion, partly  retrograde,  ZOAAKLVKOZ,  “Lykos  is  fair.” 
This  vase  shows  the  influence  of  the  famous  mcker  and 
painter  Euphronios  to  a marked  degree,  and  is  probably 
the  work  of  an  artist  who  worked  under  him.  In  the 
interior  is  a nude  youth  with  a staff;  and  it  is  here  that 
the  inscription  is  found.  A pair  of  halteres,  or  jumping 
weights,  lie  on  the  ground,  and  a discus,  in  its  case,  hangs 
in  the  field.  On  the  outside,  one  picture  shows  a pair  of 
nude  wrestlers,  with  their  trainer  standing  over  them, 
draped  in  a himation,  with  his  staff.  Behind  his  head  is 
the  retrograde  inscription  ZOAAK.  At  the  left  is  a column, 
to  represent  the  palaestra.  In  the  field  are  a pair  of 
halteres,  a discus  in  its  case,  and  two  throwing  spears. 
The  opposite  picture  shows  three  athletes,  one  at  the  left 
holding  a cord  in  both  hands,  moving  to  the  left.  In  the, 
centre  another  reclines  on  the  ground  looking  back  toward 
the  left,  as  if  in  conversation  with  the  one  at  the  left. 
Between  them  runs  the  retrograde  inscription  Z(0)AAK- 
The  rope  was  used,  perhaps  for  a contest  something  like 
our  tug  of  war.  At  the  right  is  a third  athlete,  prac- 
ticing the  javelin  throw.  In  the  field  are  a bunch  of 
thongs  such  as  were  worn  by  boxers,  and  four  throwing 
spears. 


90 


MEDITERRANEAN  SECTION 


Accession  No.  MS2444.  Height,  9.5  cm. ; diameter, 
22.4  cm.  Furtwangler,  Sitzungsberichte  der  Akademie  zu 
Munchen,  1905,  p.  259,  No.  22,  1.  Bates,  Transactions 
Dept,  of  Archaeology,  University  of  Pennsylvania,  Vol. 
H,  Part  II,  1907,  p.  140-144,  and  PI.  XXXV  (attributes 
to  Onesimos).  E.  N.  Gardiner,  Greek  Athletic  Sports  and 
Festivals,  p.  392,  Fig.  122.  A.  J.  A.,  XIII,  1909,  p.  210. 
Beazley,  Attic  Red  Figured  Vases  in  America,  p.  Ill 
(attributes  to  his  Lykos,  Laches  and  Lysis  group).  Hoppin, 
Handbook  of  Attic  Red  Figured  Vases,  Vol.  II,  p.  170, 
No.  21. 

No.  102.  A redfigured  kylix,  found  at  Chiusi,  dating  at  a period 
between  470  and  460  B.  C.  In  the  interior  is  a woman, 
facing  the  left,  standing  in  front  of  a chest,  and  raising  the 
lid  with  her  right  hand.  In  her  left  she  holds  a small  casket, 
perhaps  for  jewels.  The  treatment  of  the  drapery,  in  fine 
lines,  which  reveal  the  difference  in  texture  between  the 
heavy  himation  and  the  thin  inner  chiton,  shows  great 
skill.  On  the  outside  are  two  scenes;  in  each,  three 
women  take  part.  In  the  first  to  be  described,  they  are 
seated;  one,  at  the  left  facing  the  right,  plays  the  double 
flute;  one,  at  the  right,  facing  left,  the  castanets,  while  the 
third  in  the  centre,  facing  left,  holds  a bunch  of  grapes. 
In  the  field  hangs  the  flute  case  for  the  double  flute.  On 
the  other  side,  the  woman  in  the  centre  stands,  facing  left, 
a mirror  in  her  right  hand,  her  left  hand  extended  behind 
her.  The  other  two  women  are  seated,  and  look  toward 
her;  they  are  engaged  in  making  garlands.  In  the  field 
are  a pair  of  castanets.  This  vase  is  of  the  very  best  red- 
figured  period,  and  seems  to  be  by  a pupil  of  Duris,  though 
not  by  that  painter  himself. 

Accession  No.  MS2449.  Height,  8.9  cm.;  diameter, 
23.3  cm. 

No.  100.  A redfigured  kylix  found  at  Orvieto,  and  belonging  at 
about  460  B.  C.  The  interior  has  a design  of  two  draped 
youths  facing  each  other,  engaged  in  conversation,  much 
as  in  No.  97.  On  the  outside  are  two  designs.  In  one,  a 
winged  Nike,  or  Victory,  walks  to  right  towards  a draped 
youth,  who  carries  a staff.  She  stretches  out  her  arms 
towards  him.  Behind  her  is  another  youth,  similarly 


91 


THE  UNIVERSITY  MUSEUM 


draped.  On  the  ground  is  a stool.  The  other  side  has  a 
similar  design,  except  that  the  Nike  is  there  flying,  and 
has  a fillet  in  her  hands. 

Accession  No.  MS2495.  Height,  9.8  cm.;  diameter, 

23.7  cm.  Furtwangler,  Sitzungsberichte  der  Akademie  zn 
Munchen,  1905,  p.  259,  No.  23,  2 (attributes  to  Penthe- 
silea  master).  Bates,  Transactions  Dept,  of  Archaeology, 
University  of  Pennsylvania,  Vol.  II,  part  II,  1907,  pp.  152- 
54,  Fig.  9,  and  PI.  XXXIX  (attributes  to  School  of  Pen- 
thesilea  master).  A.  J.  A.,  XIII,  1909,  p.  210.  Miss 
Swindler,  A.  J.  A.,  XIX,  1915,  p.  406,  No.  9 (attributes  to 
Penthesilea  master).  Beazley,  Attic  Red  Figured  Vases 
in  America,  p.  132  (confirms  Miss  Swindler’s  attribution). 
Hoppin,  Handbook  of  Attic  Red  Figured  Vases,  Vol.  II, 
p.  348,  No.  45. 

No.  101.  A redfigured  kylix,  found  at  Orvieto,  and  put  together 
from  fragments.  The  interior  shows  two  draped  women, 
one  of  whom  is  apparently  doing  a sleight  of  hand  trick 
for  the  amusement  and  bewilderment  of  the  other.  The 
one  doing  the  trick  stands  at  the  right  of  the  scene ; she  is 
taller  than  the  other  woman,  and  wears  a chiton,  with  a 
himation  loosely  thrown  over  her  left  shoulder.  The 
woman  at  the  left  is  closely  draped  in  a himation,  and 
wears  a snood  over  her  hair.  Around  the  edge  of  the 
inside  runs  a border  of  ivy  leaves.  The  outside,  much  of 
which  is  lost,  contains  on  each  side  a group  of  five  figures, 
male  and  female,  in  conversation,  very  carelessly  rendered. 
This  vase  is  by  all  scholars  who  have  seen  it  assigned  to 
the  hand  of  the  Penthesilea  master.  It  therefore  dates  at 
about  460  B.  C. 

Accession  No.  MS3436.  Height,  13.2  cm.;  diameter, 

30.7  cm.  Furtwangler,  Sitzungsberichte  der  Akademie  zu 
Munchen,  1905,  p.  259,  No.  23,  1.  Bates,  Transactions, 
Dept,  of  Archaeology,  University  of  Pennsylvania,  Vol. 
II,  Part  II,  1907,  pp.  146-52,  Pis.  XXXVII,  XXXVIII. 
A.  J.  A.,  XIII,  1909,  p.  210.  Miss  Swindler,  A.  J.  A.,  XIX, 
1915,  p.  406,  No.  8.  Beazley,  Attic  Red  Figured  Vases  in 
America,  p.  132.  Hoppin,  Handbook  of  Attic  Red  Figured 
Vases,  Vol.  II,  p.  348,  No.  47. 


92 


MEDITERRANEAN  SECTION 


No.  99.  An  Attic  redfigurcd  kylix,  found  at  Orvieto.  The  preserva- 
tion is  very  poor.  In  the  interior  is  a warrior,  charging  to 
left,  his  shield  (device,  a cock)  on  his  left  arm.  On  the 
outside  is  a scene  of  battle,  that  runs  all  around  the  vase. 
On  one  side,  in  the  centre,  a warrior,  armed  with  a spear 
and  crescentshaped  shield  (device,  two  birds),  has  driven 
to  his  knees  another  warrior,  similarly  armed  (shield  device, 
a tripod).  At  the  right  of  this  scene,  another  warrior,  with 
a round  shield  (device,  two  dolphins)  subdues  his  antag- 
onist, of  whom  only  the  head  and  shield  (device,  a tripod) 
remain.  On  the  other  side,  in  the  centre,  a warrior 
advances  to  the  left  in  pursuit  of  his  adversary,  who  runs 
from  him.  The  pursuer  carries  a short  sword  with  a 
curving  blade,  in  shape  very  much  like  a Malay  bolo, 
called  by  the  Greeks  a Konls,  and  a shield  (device,  the  fore 
parts  of  a boar).  Of  the  pursued,  only  the  rear  parts  are 
preserved.  At  the  right  of  this  group,  a warrior  in  Phrygian 
costume,  with  a pointed  leather  helmet,  and  carrying  a 
shield  (device,  two  dolphins)  pierces  with  his  spear  a 
fallen  warrior,  who  is  armed  with  a short  sword  and  a 
shield  (device,  wreath  of  ivy  leaves).  The  interior,  in 
the  field,  is  the  inscription,  HOLA  2KAA  = o Trai(s)  *aXo? 
“the  boy  is  fair;’’  on  the  first  side  to  be  described,  in 
the  field,  is  the  inscription  KAOZEJLILYKOS,  which  has 
been  interpreted  as  ’EttiXvkos  kcmXios,  “ Epilykos  is  fair.” 
The  other  side  has  a repetition  of  the  inscription  on  the 
inside.  This  vase  belongs  in  the  severe  style  of  the  red- 
figured  technique,  at  about  500  B.  C. 

Accession  No.  MS3499.  Height,  9.6  cm.;  diameter, 
26.1  cm.  Bates,  Transactions  Dept,  of  Archaeology, 
University  of  Pennsylvania,  Vol.  II,  Part  II,  1907,  pp. 
133-39,  Fig.  1,  and  Pis.  XXXIII  and  XXXIV  (attributes 
to  vase  painter  Epilykos).  A.  J.  A.,  XIII,  1909,  p.  210. 

No.  98.  Redfigured  kylix,  found  at  Cortona.  This  is  the  latest 
example  of  vases  of  this  shape  in  the  collection,  and 
belongs  in  the  free  or  fine  style  of  the  redfigured 
technique,  about  450-430  B.  C.  In  the  interior  is  a 
youthful  knight,  dressed  in  a chlamys,  or  traveling  cloak, 
while  fastened  around  his  neck  is  a broad  brimmed  felt 
hat,  or  petasos,  which  was  regularly  worn  by  the  ancient 


93 


THE  UNIVERSITY  MUSEUM 


Greeks  when  on  a journey.  His  horse  stands  in  front  of 
him;  both  face  to  the  left.  Of  the  outside,  one  of  the 
scenes  is  lost;  the  other  shows  the  young  knight  in  the 
centre  facing  the  left,  bidding  farewell  to  a man,  draped 
in  a himation,  leaning  on  a staff.  Behind  the  youth  is  a 
woman,  facing  him,  with  a kylix  in  her  right  hand.  These 
figures  are  to  be  thought  of  as  the  young  knight’s  father 
and  mother. 

Accession  No.  MS2452.  Height,  9.4  cm.;  diameter, 
23  cm. 

No.  105.  A redfigured  kylix,  of  uncertain  provenance,  but  probably 
from  Vulci.  This  is  an  important  specimen,  and  extremely 
well  painted.  In  the  interior,  a nude  youth  advances  to 
right,  face  to  the  front,  a chlamys  thrown  shawl  fashion 
over  his  left  arm,  a long,  knotted  staff  in  his  right  hand. 
On  his  feet  are  low  shoes.  His  gait  suggests  that  he  has 
been  drinking.  On  the  outside,  one  scene  only  is  com- 
pletely preserved.  It  shows  a procession  of  drunken 
youths.  At  the  right,  going  right,  is  a nude  youth  with  a 
chlamys  and  staff,  similar  to  those  of  the  youth  in  the 
interior  design,  and  holding  a skyphos  in  his  left  hand. 
Behind  him  comes  a cithara  player,  draped  in  a himation, 
his  head  thrown  back,  as  if  singing  to  the  accompani- 
ment of  his  instrument.  He  is  followed  by  a nude 
youth,  doing  a violent  dance,  with  a flute  case  in  one 
hand,  as  well  as  a pair  of  castanets,  wdfich  he  is  playing. 
In  the  other  hand  he  has  another  pair  of  castanets.  Behind 
him  is  a knotted  stick.  The  other  side  shows  a similar 
procession.  Of  the  figure  at  the  right  only  the  lower  part 
of  the  legs  and  the  ends  of  a flute  case  remain.  In  the 
centre  is  a flute  player,  nude,  with  a chlamys  on  his  left 
arm,  and  behind  him  another  tipsy  youth,  like  the  one  in 
the  interior.  This  vase  has  been  attributed  to  the  work- 
shop of  the  maker  Brygos,  and  therefore  dates  at  about 
470  B.  C. 

Accession  No.  MS2445.  Height,  9.6  cm. ; diameter, 
23.2  cm.  Formerly  in  the  Canino,  Jarves,  and  Coleman 
collections.  Furtwangler,  Sitzungsberichte  der  Akademie 
zu  Munchen,  1905,  p.  259,  No.  22,  2 (attributes  to  the 
Panaitios  master).  Bates,  A.  J.  A.,  XVII,  1913,  pp. 


94 


MEDITERRANEAN  SECTION 


479-486  (attributes  to  Brygos).  Beazley,  Attic  Red 
Figured  Vases  in  America,  p.  96,  No.  24  (attributes  to  his 
Painter  of  the  Paris  Gigantomachy  Cup).  Hoppin,  Hand- 
book of  Attic  Red  Figured  Vases,  Vol.  I,  p.  138,  No.  92 
(attributes  to  Brygos). 


BLACKFIGURED  AND  REDFIGURED  PANEL 


Case  XXV. 


AM  PH  ORAL 


No.  120.  Redfigured  panel  amphora,  painted  approximately  between 
510  and  500  B.  C.,  and  bearing  on  the  foot  the  signature 
of  the  potter  Menon,  (MENON  EPOIE2EN).  This  is  the 
only  extant  vase  that  bears  the  signature  of  this  maker, 
and  it  is  the  only  vase  in  the  collection  that  is  signed. 
It  was  found  at  Vulci. 

The  obverse  side  shows  in  the  centre,  Apollo  standing 
facing  the  right,  (ATOAONOS).  He  is  dressed  in  a long 
chiton,  with  sleeves,  and  high  boots,  and  his  hair  is  done 
in  long  corkscrew  curls.  Around  his  head  is  a wreath. 
He  holds  in  his  hands  a large  cithara,  which  he  is  playing. 
Behind  him,  stands  his  mother,  Leto  (VETO),  dressed  in 
chiton  and  himation,  the  latter  draped  over  the  back  of 
her  head.  She  faces  the  centre  and  holds  a flowTer  in 
each  hand.  At  the  right  stands  Artemis  (APTEMIAOZ), 
dressed  in  a long  sleeved  chiton  and  himation,  facing 
Apollo.  She  holds  a flower  in  her  right  hand,  and  a 
branch  of  laurel  in  her  left.  Her  hair  is  done  in  a knot 
behind,  and  she  wears  a fillet. 

In  the  reverse  picture  a young  warrior  is  leading  two 
horses  towards  the  right.  He  wrears  a short  chiton  and  a 
chlamys,  and  on  his  feet  are  high  boots  that  come  almost 
to  the  knees,  and  end  in  flaps.  On  his  head  is  a pointed 
leather  cap  with  flaps  that  come  down  over  the  ears, 
cheeks,  and  back  of  the  neck.  This  costume  has  been 
identified  as  Thracian.  With  his  right  hand  he  holds  the 
horses’  reins,  with  his  left,  two  spears.  In  the  field  are 
the  inscriptions  2KON0ON  r(l2)TO  rLPES.  The  manes 
of  the  horses  are  rendered  in  white  overcolor.  The 
inscription  SKONHON  is  a corruption  for  ^av9a»v,  “the 


95 


THE  UNIVERSITY  MUSEUM 


tawny  ones”  (i.  e.,  horses).  The  other  two  inscriptions 
mean  ‘‘the  fire  red”  and  “the  faithful,”  and  are  the 
names  of  the  two  animals. 

Accession  No.  MS5399.  Height,  61.6  cm.  Formerly 
in  the  Jarves  and  Coleman  Collections.  Noel  des  Vergers, 
L’Etrurie  et  les  Etrusques,  Vol.  Ill,  p.  8,  PI.  IX  (fails  to 
see  signature).  Klein,  Meistersignaturen,  2d  ed.,  p.  189 
(attributes  to  Andokides).  Six,  Gazette  Archeologique, 
1888,  p.  196  (denies  Klein’s  attribution).  Norton,  A.  J.  A., 
1896,  p.  4.  Furtwangler,  Sitzungsberichte  der  Akademie 
zu  Mtinchen,  1905,  p.  258,  No.  21  (first  to  identify  the 
signature  of  Menon).  Bates,  A.  J.  A.,  IX.  1905,  pp.  68, 
170-181,  and  Pis.  VI  and  VII  (makes  Menon  painter  as 
well  as  potter).  D.  M.  Robinson,  A.  J.  A.,  XII,  1908,  pp. 
431-433  (discusses  inscriptions  on  the  vase).  Bates, 
A.  J.  A.,  XII,  1908,  pp.  435-36.  E.  H.  H(all),  Museum 
Journal,  V,  1914,  pp.  31-37,  Figs.  17-20  (assigns  to  Ando- 
kides’s  atelier;  reveals  the  existence  of  new  inscription). 
Buschor,  Griechische  Vasenmalerei,  2d  ed.,  p.  152.  Nicole, 
Corpus  des  Ceraminstes  Grecs,  96.  Hoppin,  Euthymides 
and  his  Fellows,  p.  37.  Beazley,  Attic  Red  Figured  Vases 
in  America,  p.  6 (assigns  to  Menon  painter).  Hoppin, 
Handbook  of  Attic  Red  Figured  Vases,  Vol.  II,  p.  202, 
No.  1 (with  plate). 

No.  111.  Blackfigured  panel  amphora,  found  at  Orvieto,  and  put 
together  from  fragments.  On  the  obverse,  the  death  of 
Achilles  is  represented.  At  the  right,  Ajax  leans  over  a 
prostrate  body.  His  back  is  turned  to  the  centre  of  the 
painting,  and  his  big  Boeotian  shield,  with  the  elaborate 
device  of  a leopard  or  panther  seizing  a fawn,  with  a ser- 
pent underneath,  is  strapped  to  his  back.  The  prostrate 
warrior  wears  a white  breastplate,  and  under  that  a short 
chiton,  adorned  with  an  incised  decoration.  Over  the 
breastplate  is  another  black  garment,  probably  a chlamys, 
with  a very  elaborate  incised  design.  He  wears  greaves. 
His  he’met,  with  its  high  crest  of  red,  lies  on  the  ground 
beside  him.  Beside  him  runs  the  retrograde  inscription 
ZOdLI,  the  last  part  of  the  name  Achilles.  At  the  left  of 
this  scene  a warrior,  fully  armed,  a spear  in  his  right  hand, 
and  a round  shield,  rendered  in  white  overcolor,  with  the 


96 


MEDITERRANEAN  SECTION 


device  of  a dog  tearing  a piece  of  meat,  on  his  left  arm,  and 
wearing  a helmet  with  a crest  supported  by  a writhing 
serpent,  advances  to  the  left.  Beside  him  is  the  inscrip- 
tion MENELAOS,  Menelaus.  He  pierces  with  his  spear  a 
fleeing  Ethiopian,  who  is  nude,  and  carries  a crescent 
shaped  shield  on  his  left  arm,  and  a club,  like  the  Zulu 
knob  kerry,  in  his  right  hand.  Frcm  his  breast,  where  the 
spear  has  pierced  him,  the  blood  rushes  out.  Over  his 
head  is  the  inscription  AMAZOZ,  i.  e.,  Amasis,  which  is 
a non-Greek  name  applied  to  this  Ethiopian. 

The  reverse  has  as  its  subject  the  death  of  Antilochos. 
Very  little  of  this  scene  has  been  preserved.  The  dead 
man,  as  on  the  obverse,  lies  in  the  middle;  but  here  his 
head  is  at  the  left,  and  not  at  the  right,  as  was  that  of 
Achilles.  He  wears  a white  breastplate,  and  greaves  of 
red.  At  the  left,  over  his  head,  is  the  retrograde  inscription 
ZOXOLITNA,  Antilcchos.  Above  him,  three  warriors  in 
armor  charge  to  the  left,  in  pursuit  of  two  nude  figures, 
who  are  probably  negroes,  as  in  the  case  of  the  obverse. 
Of  the  negroes  only  the  bodies  from  the  shoulders  down 
are  preserved.  Of  the  leading  warrior  only  the  lower 
part  of  the  head,  neck,  right  elbow,  part  of  right  hand,  and 
left  foot  remain.  Of  the  second  warrior  part  of  the  crest 
of  the  helmet,  the  round  shield  (black  with  an  outer  band 
of  red)  and  part  of  one  leg  are  all  that  is  left.  The  third 
warrior  is  better  preserved,  wears  a helmet,  and  carries  a 
spear  in  his  right  hand,  and  a round  shield,  rendered  in 
white  overcolor,  and  with  the  device  of  a raven  in  black, 
on  his  left  arm.  Beside  him  is  the  inscription  EV<DOPBOZ, 
Euphorbos. 

This  vase  is  a fine  example  of  the  black-figured  tech- 
nique, and  may  well  be  the  work  of  the  artist  Exekias. 

Accession  No.  MS3442.  Height,  56.2  cm.  Bates, 
Transactions,  Dept,  of  Archaeology,  University  of  Penn- 
sylvania, Vol.  I,  Parts  I and  II,  1904,  pp.  45-50,  Pis.  I,  II 
(attributes  to  Amasis).  A.  J.  A.,  VIII,  1904,  pp.  87-88; 
IX,  1905,  p.  208.  Furtwangler,  Sitzungsberichte  der 
Akademie  zu  Munchen,  1905,  pp.  257-58,  No.  20  (denies 
Bates’  attribution;  suggests  Exekias).  D.  M.  Robinson, 
A.  J.  A.,  XII,  1908,  p.  433  (attributes  to  Exekias).  Bates, 


97 


THE  UNIVERSITY  MUSEUM 


A.  J.  A.,  XII,  1908,  p.  436.  E.  H.  H(all),  Museum  Journal, 
VI,  1915,  pp.  90-93,  Figs.  68,  69. 

No.  110.  Large  blackfigured  panel  amphora  from  Orvieto,  put 
together  from  fragments.  On  the  obverse,  much  of  which 
is  missing,  Herakles  bends  over  the  Nemean  Lion.  He  is 
nude.  His  head  and  the  upper  part  of  his  body  are  missing, 
but  it  is  certain  that  the  lion  was  represented  as  striking 
at  his  face  with  his  left  hind  paw.  Over  the  group  is  the 
inscription  HEPAK(LES)  Herakles.  At  the  left  stands 
Athena  (A0ENAZ),  the  patroness  of  Herakles,  wearing 
a long,  sleeveless  chiton  with  a rich  decoration  rendered 
in  incised  lines.  Her  flesh  is  white;  she  carries  a spear 
in  her  right  hand,  and  on  her  left  arm  is  a shield 
adorned  with  a gorgon’s  head.  At  the  right  is  Iolaos, 
nude;  only  his  head,  shoulders,  arms,  left  hand,  and  one 
foot  remain.  In  his  right  hand  he  holds  the  club  of 
Herakles,  the  greater  part  of  which  is  preserved.  Beside 
him  is  inscribed,  retrograde,  his  name,  ZCX4LOI.  At  the 
left  of  the  picture,  is  the  retrograde  inscription  ZOLAKZE; 
owing  to  the  style  of  the  vase  painting,  which  is  undoubt- 
edly the  work  of  Exekias,  the  restoration  (ONETOPIO) 
ESKALOS  is  suggested;  this  has  the  advantage  of  filling 
just  the  space  lost  between  the  preserved  part  and  the 
top  of  the  panel.  It  is  the  favorite  xaXo?  name  of 
Exekias. 

The  reverse  is  in  very  poor  preservation.  In  the 
centre,  facing  left,  is  Dionysos  (AIONVSOS),  holding  a vine 
with  four  bunches  of  grapes  in  his  left  hand,  and  a kan- 
tharos  (only  the  foot  preserved)  in  his  right.  His  head  is 
missing.  Behind  him  is  a dancing  maenad,  dressed  in  a 
long  chiton,  elaborately  decorated  with  an  incised  pattern. 
In  front  of  him  is  a draped  female  figure;  the  upper  part  of 
her  body  is  missing.  In  her  arms  she  holds  a pair  of  twins 
(only  the  feet  and  legs  preserved).  She  may  be  Night, 
with  her  twin  offspring,  Sleep  and  Death.  Behind  her  is 
a dancing  nude  figure,  probably  a satyr.  Only  his  feet, 
legs,  right  arm,  and  back  of  head  are  left.  Between  him 
and  the  female  figure  are  the  letters  ON,  the  remains  of 
an  inscription  which  it  is  impossible  to  restore. 

As  has  been  suggested  above,  this  vase  is  without 


98 


MEDITE R RAN' EA N SECTION 


doubt  to  be  assigned  to  Exekias,  and  therefore  belongs  at 
about  525  B.  C. 

Accession  No.  MS3497.  Height,  58  cm.  Furt- 
wangler,  Sitzungsberichte  der  Akademie  zu  Munchen,  p. 
257,  No.  18  (attributes  to  Exekias).  E.  H.  H(all),  Museum 
Journal,  VI,  1915,  pp.  85-90,  Figs.  65.  66.  S.  B.  L(uce), 
ibid.,  VIII,  1917,  p.  155.  No.  4.  A.  J.  A.,  XXII,  1918, 
p.  210,  No.  9.  For  a discussion  of  figures  like  the  female 
with  twins,  see  Jane  Harrison,  Prolegomena  to  the  Study 
of  Greek  Religion,  pp.  266-71  and  Fig.  74. 

GREEK  VASES  IN  WEST  ROOM. 

Case  XXVI. 

No.  20.  Italo-geometric  amphora,  from  Narce  in  Etruria.  It  is 
decorated  with  linear  designs,  and  panels  in  which  are  birds. 

Accession  No.  MS1315.  Height,  25.6  cm.;  diameter, 
23.4  cm. 

No.  126.  An  Attic  geometric  amphora,  of  the  style  known  as  dipy- 
lon ware.  This  fine  specimen  is  decorated  with  rows  of 
chariots  and  warriors.  Around  the  lip,  and  lower  neck, 
and  on  the  handles  are  serpents  in  relief,  the  reason  for 
which  is  not  clear.  This  vase  is  a very  important  example, 
and  is  of  great  archaeological  value.  It  was  made  in  the 
eighth  century  B.  C. 

Accession  No.  MS5464.  Height,  63.5  cm.  Published. 
Luce,  Museum  Journal,  VIII,  1917,  pp.  15-21,  Fig.  2, 
See  also  A.  J.  A.,  XXI,  1917,  p.  352,  No.  2.  The  height 
given  in  the  article  in  the  Museum  Journal  is  incorrect. 

Other  Greek  vases  will  be  found  enumerated  with  the 
Etruscan  collections,  as  they  belong  with  various  tomb 
groups,  and  should  more  properly  be  discussed  in  connec- 
tion with  them. 

GREEK  VASES  NOT  ON  EXHIBITION. 

No.  20B.  A geometric  amphora,  found  at  Vulci.  On  the  neck  is  a 
crude  maeander  pattern,  on  the  shoulder  a row  of  birds, 
and  on  the  body  linear  and  zigzag  designs.  This  vase  is 
probably  Italic,  rather  than  Greek;  i.  e.,  made  by  Greek 


99 


THE  UNIVERSITY  MUSEUM 


colonists  in  Italy,  or  by  Italians  under  strong  Greek 
influence. 

Accession  No.  MS614.  Height,  41.7  cm. 

No.  49.  An  Attic  blackfigured  amphora,  found  at  Orvieto,  and  put 
together  from  fragments.  On  the  obverse,  Herakles  is 
shewn,  bringing  the  Erymanthian  Boar  to  Eurystheus. 
Eurystheus  in  his  fear  has  hidden  himself  in  a large  pithos, 
or  jar,  that  is  sunk  into  the  ground  in  the  middle  of  the 
scene.  Only  his  head  and  arms  appear.  He  faces  Her- 
akles, and  stretches  out  his  arms  in  supplication.  Herakles, 
clad  in  the  lion’s  skin,  puts  one  foot  on  the  rim  of  the  pithos, 
and  holds  the  boar  over  his  head,  as  if  about  to  hurl  it  on 
Eurystheus.  On  the  left,  facing  the  centre,  is  Hermes,  in 
a chlamys  and  petasos,  and  carrying  a caduceus  in  his 
hand.  At  the  right  is  Athena  wearing  the  aegis,  and 
carrying  a spear.  The  reverse  shows  a four  horse  chariot 
seen  from  the  front. 

Accession  No.  MS4860.  Height,  49.9  cm.  E.  H.  H(all), 
Museum  Journal,  IV,  1913,  p.  159,  Fig.  137,  and  p.  161. 
S.  B.  L(uce),  ibid.,  VIII,  1917,  p.  152.  A.  J.  A.,  XXII, 
1918,  p.  210,  No.  5.  S.  B.  L(uce),  Museum  Journal,  XI, 
1920,  pp.  56-59,  No.  1,  and  Figs.  34,  35. 

No.  115.  A large  blackfigured  panel  amphora,  found  at  Orvieto, 
and  put  together  from  fragments.  The  obverse  and  reverse 
have  the  same  design ; two  horsemen  facing  the  front,  with 
their  heads  in  profile. 

Accession  No.  MS3498.  Height,  58.3  cm. 

No.  134.  A blackfigured  hydria,  found  at  Orvieto,  and  put  together 
from  fragments.  The  shoulder  design  is  lost.  Of  the  body 
design,  enough  remains  to  show  that  it  consisted  of  a 
chariot,  facing  the  right.  At  the  horses’  heads  stands 
Hermes,  in  a chlamys  and  winged  boots  (head  lost).  Of 
the  figures  in  the  chariot,  only  the  lower  part  remains, 
while  of  a figure  who  stands  beside  the  horses,  part  of  the 
head  is  preserved.  This  figure,  who  faces  the  left,  may  be 
Dionysos.  Below  is  a band  of  panthers  and  goats. 

Accession  No.  MS4853.  Height,  46  cm.  S.  B.  L(uce), 
Museum  Journal,  XI,  1920,  pp.  59,  60,  No.  2,  and  Fig.  36. 

No.  140.  A blackfigured  kelebe,  found  at  Orvieto,  and  put  together 
from  fragments.  On  the  obverse  are  the  remains  of  a 


100 


MEDITERRANEAN  SECTION 


scene  of  combat,  with  a chariot,  moving  to  right,  and, 
under  the  horses’  hoofs,  a fallen  warrior.  The  reverse  has 
only  a very  small  part  preserved;  but  that  part  shows  a 
lion  attacking  a bull. 

Accession  No.  MS5663.  Height,  30.5  cm.  S.  B. 
L(uce),  Museum  Journal,  XI,  1920,  pp.  60-62,  No.  3,  and 
Figs.  37,  38. 

No.  141.  A blackfigured  oenochoe,  found  at  Orvieto,  and  put 
together  from  fragments.  Hermes,  of  whom  only  the  head, 
wearing  a petasos,  one  foot  in  a winged  shoe,  and  one 
hand  with  the  caduceus  remain,  stands  facing  the  right, 
while  in  front  of  him  are  two  warriors,  in  helmets,  round 
shields  (devices,  star,  and  thunderbolt,  respectively)  and 
greaves.  Between  the  warriors  flies  a bird.  At  the  right 
is  a draped,  bearded  man,  facing  left,  carrying  a staff. 
This  vase  shows  a certain  amount  of  Chalcidian  influence. 

Accession  No.  MS4836.  Height,  20.7  cm.  S.  B. 
L(uce),  Museum  Journal,  XI,  1920,  p.  62,  No.  4,  and 
Fig.  39. 

No.  142.  A blackfigured  kylix  without  handles,  and  decorated  only 
in  the  interior  with  a small  medallion,  in  which  is  a bird, 
facing  right. 

Accession  No.  MS5669.  Height,  9 cm.;  diameter, 
20  cm.  S.  B.  L(uce),  Museum  Journal,  XI,  1920,  p.  63, 
No.  5,  and  Fig.  40. 

No.  143.  A south  Italian  stamnos,  probably  Apulian,  though  it  may 
well  be  Campanian.  Much  polychrome  decoration  is 
employed.  The  handles  are  moulded  in  the  form  of  serpents ; 
one  of  these  handles  has  been  restored.  The  subject  is  in 
one  continuous  frieze  around  the  body,  and  consists  of  a 
band  of  satyrs,  maenads,  and  centaurs.  The  flesh  of  the 
female  figures  is  in  white,  the  satyrs  sit  on  panther  skins 
rendered  in  white,  and  the  horse  part  of  the  one  centaur 
preserved  is  of  that  color. 

Accession  No.  MS4854.  Height,  36.2  cm.  S.  B. 
L(uce),  Museum  Journal,  XI,  1920,  pp.  65,  Fig.  42;  66-67, 
No.  7. 


101 


THE  UNIVERSITY  MUSEUM 


PRE-HELLENIC  AND  LOCAL  APULIAN  VASES. 

These  vases  are  not  on  exhibition  owing  to  lack  of  space. 

No.  1.  A Messapian  krater,  found  at  Rugge.  Decorated  with  leaf 
patterns  and  linear  decorations  on  a cream  colored  slip. 
The  handles  have  medallions  at  their  highest  points,  and 
these  vases  are  often  called  by  the  Italians,  vasi  con 
maniche  a rotelle,  from  these  discs.  From  this  shape  the 
Greek  colonists  in  Lucania  developed  later  the  peculiar 
krater  that  is  often  erroneously  called  nestoris. 

Accession  No.  MS205.  Height,  22.5  cm.  S.  B. 

L(uce),  Museum  Journal,  X,  1919,  p.  219,  Fig.  74. 

No.  2.  A Peucetian  krater,  of  unknown  provenance.  The  decora- 
tions are  of  a geometric  nature,  in  black  on  a creamcolored 
slip.  Even  the  bottom  of  the  foot  is  decorated. 

Accession  No.  MS  1594.  Height,  24.6  cm.  S.  B' 

L(uce),  Museum  Journal,  X,  1919,  p.  220,  Fig.  75. 

No.  3.  A Daunian  krater,  of  unknown  provenance.  In  shape  it  is 
like  a modern  spittoon.  The  decoration  is  in  the  form  of 
horizontal  rings  around  the  body,  and  a rough  floral 
pattern. 

Accession  No.  MS1593.  Height,  21.3  cm.  S.  B. 

L(uce),  Museum  Journal,  X,  1919,  pp.  220-21,  Fig.  76. 

No.  4.  A Daunian  cup  with  one  high  handle.  The  provenance  is 
unknown.  The  decoration  is  in  the  form  of  geometrical, 
curvilinear,  and  floral  designs  in  red  and  black  on  a cream 
colored  slip. 

Accession  No.  MS301.  Height,  with  handle,  11.8  cm. 
S.  B.  L(uce),  Museum  Journal,  X,  1919,  p.  221,  Fig.  77. 

No.  5.  An  askos  of  local  Apulian  technique.  The  designs  are  all  of 
the  purely  decorative  patterns,  such  as  the  wave  maeander, 
and  the  chain  or  tress  (Italian,  treccia)  and  conventional 
floral  patterns. 

Accession  No.  MS1591.  Height,  23  cm.  S.  B.  L(uce), 
Museum  Journal,  X,  1919,  p.  222,  Fig.  78,  and  p.  224. 

No.  6.  An  askos  similar  to  No.  5,  but  somewhat  larger,  and  in  poor 
condition,  most  of  the  design  having  worn  off.  Wave 
maeander  and  chain  patterns  can,  however,  be  recognized. 

Accession  No.  MS  1592.  Height,  24.8  cm.  S.  B. 
L(uce),  Museum  Journal,  X,  1919,  p.  224. 


102 


MEDITERRANEAN  SECTION 


No.  7.  A double  vase  consisting  of  two  pots,  held  together  by  a loop 
that  has  been  formed  between  them.  As  in  all  these  speci- 
mens, polychromy  is  employed.  The  decoration  is  much 
as  in  Nos.  5 and  6,  taking  the  form  of  wave  maeander, 
chain,  and  conventional  floral  patterns. 

Accession  No.  MS  1590.  Height,  with  handle,  20.3 
cm.  S.  B.  L(uce),  Museum  Journal,  X,  1919,  p.  223,  Fig. 
79,  and  p.  224. 

No.  8.  A local  Apulian  vase,  probably  used  for  incense.  It  is  shaped 
so  that  it  will  stand  on  either  end,  as  each  end  is  in  the 
form  of  a cup.  It  is  decorated  with  wave  maeander  and 
conventional  floral  patterns. 

Accession  No.  MS  1595.  Height,  18.4  cm.  S.  B. 
L(uce),  Museum  Journal,  X,  1919,  p.  224,  Fig.  80. 

No.  9.  A local  Apulian  incense  burner,  decorated  with  wave  maean- 
ders,  zigzags,  and  a very  naturalistic  ivy  leaf  pattern. 

Accession  No.  1597.  Height,  44.5  cm.  S.  B.  L(uce), 
Museum  Journal,  X,  1919,  pp.  224-225,  Fig.  81. 


iru 


LAMPS  OF  VARIOUS  PERIODS,  PRINCIPALLY 

ROMAN. 

Case  XIV. 

While  lamps  are  said  to  have  been  invented  by  the  Egyptians, 
and  while  many  have  been  found  in  early  sites  (witness  the  large 
collection  of  Minoan  lamps  in  Case  IV,  and  the  examples  from  Cyprus 
in  this  case)  the  bulk  of  the  terracotta  lamps  of  the  classical  period 
in  the  museums  of  the  world  can  be  assigned  only  to  Roman 
times.  There  are  two  lamps  in  this  case,  Nos.  29  and  35,  besides 
those  from  Cyprus,  that  can  be  said  to  be  Greek,  and  they  were  made 
in  the  Roman  period;  all  the  rest  are  Roman. 

Roman  lamps  (and  indeed  the  Greek  ones  as  well)  were  made  in 
moulds.  Some  of  these  moulds  exist.  Often  on  the  bottom  of  the 
lamp  the  maker’s  name,  stamped  in  the  mould,  comes  out  in  clear 
letters.  As  a rule,  however,  no  signature  will  be  found.  When  two 
lamps  are  obviously  made  in  the  same  mould,  and  one  is  signed  while 
the  other  is  not,  it  means  that  the  same  mould  was  used  for  the  top, 
but  not  for  the  rest  of  the  lamp,  and  that  they  were  both  made  in  the 
same  factory;  but,  apart  from  that,  it  is  almost  impossible  to  assign 
unsigned  lamps  to  their  makers  on  grounds  of  technique,  as  we  can 
in  the  case  of  Greek  vases. 

Most  of  these  Roman  lamps  have  but  one  nozzle,  and  the  only 
correct  method  of  dating  them  is  often  by  the  shape  of  the  nozzle. 
Of  the  typical  Roman  lamps,  the  earliest  that  have  come  down  to 
us  seem  to  start  in  the  end  of  the  second  century  B.  C.,  after  which 
we  have  a continuous  series  with  which  to  work.  The  earliest  form 
is  that  shown  in  the  group  14;  they  are  called  delphiniform 
lamps  from  a fancied  resemblance  to  a dolphin.  In  the  Imperial 
period  five  forms  are  distinguished,  and  are  here  given  according 
to  their  date.  (1)  Lamps  with  volute  nozzles,  like  No.  5,  and  the 
one  to  the  left  in  the  group  No.  7.  (2)  Lamps  with  pointed  volute 

nozzles,  like  Nos.  25,  27,  31 , 32,  40.  (3)  Lamps  with  grooved  nozzles, 

like  the  group  No.  47.  (4)  Lamps  with  small  plain  nozzles,  like  Nos. 

8,  10,  15,  23,  24  and  others.  (5)  Lamps  with  heartshaped  nozzles, 
like  Nos.  34  and  41.  The  first  two  groups  begin  in  the  first  century 
B.  C.,  and  last  through  the  first  century  A.  I). ; group  3 belongs  in  the 
first,  4 in  the  second,  and  5 in  the  third  century  of  our  era.  In  the 


104 


MEDITERRANEAN  SECTION 


study  of  lamps  with  more  than  one  nozzle,  or  in  the  study  of  bronze 

lamps,  the  same  rules  apply. 

\\  ith  these  remarks,  let  us  examine  carefully  the  lamps  themselves. 

No.  1.  A lamp  from  Cyprus.  Lamps  do  not  appear  in  excavations 
in  this  island  in  deposits  earlier  than  the  seventh  century 
B.  C.  This  primitive  form,  being  merely  a saucer  with  the 
rim  pinched  together  to  make  a wickholder,  is  the  earliest 
type. 

No.  2.  A small  open  lamp,  also  from  Cyprus,  with  the  rim  pinched 
to  form  a spout,  and  a side  handle.  This  probably  is  to 
be  dated  as  in  the  sixth  century  B.  C. 

No.  3.  A lamp,  said  to  have  been  found  in  excavating  a Phoenician 
site  in  the  Island  of  Malta.  It  is  made  on  the  same  plan 
as  No.  1,  but  the  rim  is  pinched  twice  to  hold  two  wicks. 
Sixth  century  B.  C. 

No.  4.  A plain,  open  lamp,  with  a back  handle,  and  very  much 
blackened  from  use.  It  was  made  in  Etruria,  either  in 
the  sixth  century  B.  C.,  or  else  the  century  after. 

No.  5.  A lamp  of  the  type  with  volute  nozzles,  with  a design  of 
three  divinities  seated,  with  two  figures  underneath  them. 
On  the  bottom  of  the  lamp,  traces  of  a signature.  First 
century  B.  C.-first  century  A.  D. 

No.  6.  A lamp  of  the  same  period,  with  a relief  of  a satyr  carrying  a 
torch.  The  nozzle,  which  is  missing,  was  probably  of  the 
pointed  volute  type. 

No.  7 A,  B,  C.  A group  of  three  lamps,  each  with  a design  in  relief 
of  Jupiter  with  his  eagle.  Two  of  them  (A  and  B)  have 
volute  nozzles  (one,  7B,  has  two  nozzles)  the  third  has  a 
small,  plain  one.  First  and  second  centuries  A.  D. 

No.  8.  A lamp  with  a small,  plain  nozzle,  and  a device  of  Eros, 
winged,  and  carrying  a torch  on  his  shoulder.  On  the 
foot  is  the  maker’s  name  (illegible).  Second  century  A.  D. 

No.  9.  A lamp  with  two  volute  nozzles,  and  a handle,  on  which  is  a 
design  in  relief  of  acanthus  leaves.  The  principal  design 
is  of  Cupid  walking  to  the  right  with  a bow  in  his  hand,  and 
a bar  across  his  shoulders,  on  which  hang  two  pails. 
First  century  B.  C.-first  century  A.  D. 

No.  10.  A lamp  with  a plain  nozzle,  and  a design  of  cupids  at 
a winepress.  Second  century  A.  D. 


105 


THE  UNIVERSITY  MUSEUM 

No.  1 1.  An  undecorated  lamp  with  a high  handle  (now  broken  off), 
and  four  plain  nozzles.  Second  century  A.  D. 

No.  12.  A terracotta  lamp  on  a tall  base,  on  which  is  a woman  in 
relief.  The  lamp  itself  is  small,  and  has  four  nozzles. 
First  century  A.  U. 

No.  13.  An  undecorated  lamp,  with  a handle,  and  nine  small  nozzles. 
Second  century  A.  I). 

No.  14  A,  B,  C.  A group  of  three  delphiniform  lamps,  undecorated. 
First  century  B.  C. 

No.  15.  A lamp  of  red  clay,  with  a small,  plain  nozzle,  and  a relief  of 
Leda  and  the  Swan.  On  the  bottom  is  stamped  the 
maker’s  name  fCLOS]  (very  indistinct),  and  a human 
foot.  Said  to  come  from  Athens,  but  certainly  of  Roman 
manufacture.  Second  century  A.  D. 

No.  16.  Another  lamp  with  the  same  subject,  also  said  to  have  come 
from  Athens,  but  with  a volute  nozzle.  First  century 
B.  C.-first  century  A.  D. 

No.  17.  An  undecorated  bronze  lamp,  of  about  the  same  period, 
with  a crescentshaped  handle. 

No.  18.  A bronze  lamp  of  either  the  second  or  third  centuries  A.  D., 
with  a crescentshaped  handle. 

No.  19.  A bronze  lamp,  resembling  the  delphiniform  type.  First 
century  B.  C. 

No.  20.  A large  bronze  lamp  with  a crescentshaped  handle,  and  a 
nozzle.  First  century  B.  C. 

No.  21.  A bronze  lamp,  in  the  form  of  a satyr’s  head,  so  adapted 
that  the  mouth  becomes  the  hole  for  the  wick.  Found  in 
Etruria.  Second-first  centuries  B.  C. 

No.  22.  A bronze  lamp,  in  the  form  of  an  open  saucer,  with  a channel 
for  the  wick.  First  century  B.  C. 

No.  23.  A small  lamp  with  a plain  nozzle.  The  design  is  of  a gro- 
tesque figure  in  a boat.  On  the  foot  is  the  maker’s  name, 
F(?)VRT‘EPII.  Second  century  A.  D. 

No.  24.  A lamp  of  the  same  period,  and  perhaps  from  the  same 
factory.  The  decoration  is  a relief  of  a bull  in  front  of  an 
altar,  on  which  are  offerings.  Second  century  A.  D. 

No.  25.  A small  lamp,  with  a pointed  volute  nozzle,  and  a rosette 
design.  The  handle  has  been  broken  off.  First 
century  A.  D. 

No.  26.  A lamp  of  the  same  period,  with  two  volute  nozzles  (one 


106 


MEDITERRAN EAN  SECTION 


broken),  and  the  handle  also  broken  off.  In  the  centre  is  a 
rosette  pattern. 

No.  27.  A lamp,  with  a pointed  volute  nozzle,  no  handle,  and  a 
curious  design,  the  meaning  of  which  is  not  clear.  First 
century  A.  D. 

No.  28.  A late  lamp,  of  the  third  century  A.  D.,  if  not  later,  with  a 
design  of  a warrior  advancing  to  the  right,  spear  in  hand. 

No.  29.  A lamp  of  Greek  manufacture,  but  made  late  in  the  Roman 
Imperial  period.  It  bears  a representation  of  two  gladiators 
fighting.  On  the  bottom  is  the  name  of  the  maker,  in  the 
genitive  case,  IIPEIMOT.  This  manufacturer  is  well 
known,  and  works  of  his  are  to  be  found  in  many  museums. 
Third  century  A.  D. 

No.  30.  A small  lamp,  with  a pointed  volute  nozzle,  broken,  and  a 
design  of  two  short  swords  and  two  round  shields.  First 
century  A.  D. 

No.  31 . A lamp  of  the  same  class  and  period,  with  a spirited  relief  of 
a running  gladiator,  fully  armed  with  helmet,  breastplate, 
graves,  shield,  and  sword.  Underneath  is  the  sign  tt. 

No.  32.  A small  lamp  of  the  same  class  and  period,  with  a relief  of 
two  gladiators’  helmets. 

No.  33  A,  B,  C.  A group  of  three  lamps  with  chariot  scenes.  One 
(33A)  has  an  ordinary  volute  nozzle,  the  other  two 
pointed  volute  nozzles.  One  was  found  at  Chiusi  in 
Etruria,  the  other  two  were  acquired  at  various  times. 

No.  34.  A lamp  with  a heartshaped  nozzle.  The  relief  is  of  the 
youthful  Herakles.  Around  the  outside  is  a border  of 
vine  leaves  and  bunches  of  grapes.  On  the  bottom  is  the 
name  of  the  maker,  STERCEI(?).  Third  century  A.  D. 

No.  35.  A lamp  of  Greek  manufacture,  with  a design  of  Apollo 
with  a mirror,  standing  by  a tripod.  On  the  bottom,  is  the 
maker’s  name,  KAAAIKTOT,  in  late  Greek  characters. 
Third  century  A.  D. 

No.  36.  A lamp  with  two  plain  nozzles,  and  a crescentshaped  handle, 
in  the  form  of  a bull’s  head  in  relief.  Second  century  A.  D. 

No.  37.  A double  lamp,  with  a nozzle  at  each  end,  and  a ring  in 
the  centre,  by  which  it  was  suspended.  At  the  sides 
are  animals’  heads.  On  the  bottom  is  the  name  QV  • CLVS  • 
HER.  Second  century  A.  D. 

No.  38.  A small,  plain  lamp,  or  oil  pourer.  shaped  like  a jug  with  the 


1 07 


THE  UNIVERSITY  MUSEUM 

spout  at  the  bottom,  and  a back  handle.  From  Jerusalem. 
First  or  second  century  A.  D. 

No.  39.  A lamp  with  a small,  plain  nozzle,  and  the  relief  of  a lion. 

On  the  bottom  is  the  name  CAS  • VICT.  (Cassius  Victor). 
Second  century  A.  D. 

No.  40.  A lamp  with  a pointed  volute  nozzle,  and  a decorative  design 
of  conventional  foliage.  First  century  A.  D. 

No.  41.  A lamp  with  a heartshaped  nozzle,  and  a border  in  the 
form  of  a garland  of  myrtle.  On  the  bottom  is  the  name 
LVCANI.  Third  century  A.  D. 

No.  42.  A lamp,  formerly  on  a high  base  (partly  broken  off),  with  a 
handle  (broken),  and  seven  volute  nozzles  (one  broken). 
First  century  A.  D. 

No.  43.  A lamp  with  a small,  plain  nozzle,  and  a crude  design 
of  a running  animal  in  relief.  On  the  bottom  are  the 
letters  C -OP  REST,  probably  an  abbreviation  of  the 
maker’s  name  (C.  Oppius  Restitutus).  Second  century 
A.  D. 

No.  44.  A crude  lamp  of  black  clay,  with  a design  of  a lizard  in 
relief.  Said  to  have  come  from  Pompeii.  First 
century  A.  D. 

No.  45.  A small  lamp  of  black  clay,  with  a small,  plain  nozzle.  The 
design  is  of  a krater  shaped  vase  in  relief.  On  the  bottom 
are  the  letters  CISTIFAN,  probably  an  abbreviation  of 
the  maker’s  name.  Second  century  A.  D. 

No.  46.  A small  lamp  of  a shape  somewhat  resembling  the  delphini- 
form  type,  and  with  a decoration  of  a guilloche,  and  an 
animal’s  head.  Said  to  have  come  from  Jerusalem. 
First  century  B.  C. 

No.  47.  A and  B.  A group  of  two  lamps,  of  the  type  with  grooved 
nozzles,  with  the  peculiarities  of  this  very  interesting  class, 
such  as  the  sunken  centre,  raised  rim.  elongated  nozzle,  and 
projecting  knobs  at  the  sides.  One  of  these  lamps  (47  A)  is 
undecorated,  the  other  (47B)  has  only  a comic  mask.  Both 
have  the  maker’s  name,  in  the  genitive  case,  on  the  bottom, 
STROBILI,  in  good  raised  letters.  This  maker  is  wrell 
known,  and  numbers  of  lamps  from  his  factory  are  extant. 
The  undecorated  specimen  is  said  to  have  come  from 
Cologne;  the  other  came  from  Chiusi  in  Etruria.  It 


108 


MEDITERRANEAN  SECTION 


is  believed  that  these  lamps  were  manufactured  at  Mutina, 
the  modern  Modena.  First  century  A.  D. 

No.  48.  A lamp  of  the  delphiniform  type,  with  a back  handle,  and 
with  linear  decorations.  On  the  bottom  is  stamped  an 
inscription.  IICII(?).  First  century  B.  C. 

No.  49.  A curious  lamp,  with  a nozzle  which  is  almost  a part  of  the 
body,  and  a hole  for  the  wick  of  the  size  of  a pin.  Second 
century  A.  D. 

No.  50.  A and  B.  A group  of  two  lamps,  which  are  perhaps  the  latest 
in  date  of  any  in  the  case ; for  they  bear  the  sign  \D/  of  the 
early  Christians.  Third  or  fourth  centuries  /|S  A.  D. 


ROMAN  LAMPS  NOT  ON  EXHIBITION. 

Most  of  the  following  lamps  have  no  interest,  but  for  the  signa- 
tures on  the  bottoms  of  some  of  them.  They  are,  as  a rule,  devoid 
of  decoration,  and  crude  in  manufacture;  but  there  are  some  excellent 
ones  also. 

No.  51A,B,C.  Three  lamps,  all  from  the  same  factory. 

51  A.  This  lamp  is  of  red  clay,  with  a small  nozzle  and  back  handle, 
and  the  centre,  where  the  decoration  existed  broken.  On 
the  bottom  is  the  signature  C : OPPI  : RES.  (C.  Oppius 
Restitutus.) 

51B.  A crude  delphiniform  lamp  of  buff  clay,  decorated  only  with 
two  small  fillets.  Inscription  as  in  51  A. 

51C.  Same  as  51B  in  shape,  with  rough  incised  line  decoration.  On 
the  bottom,  the  inscription  OPPI.  (Oppius.) 

No.  52.  A lamp  of  red  clay,  decorated  with  a design  of  a dog, 
running  to  left.  The  bottom  is  broken,  but  part  of  a 
signature  can  be  made  out,  with  the  letters  ME. 

No.  53A  and  B.  Two  very  crude  delphiniform  lamps,  each  decorated 
with  a very  rough  incised  pattern,  and  with  a broad,  flat 
handle  at  the  back.  53A  has  on  the  bottom  the  inscrip- 
tion BIC.AGA,  (?)  and  53B,  C.VIC.AGA,  in  good  clear 
letters.  (C.  Vicius  Agathus,  or  C.  Vicirius  Agathopus.) 
No.  54A  and  B.  Two  lamps  of  identical  shape  and  design  with  the 
group  53,  each  having  on  the  bottom  in  good  clear  letters 
the  inscription  L . FABRIC . MAS.  (L.  Fabricius  Mas- 
culus.) 


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THE  UNIVERSITY  MUSEUM 


No.  55.  A lamp  of  buff  clay,  with  a small  round  volute  nozzle,  undec- 
orated, and  on  the  bottom  the  inscription  FRVCT  in 
crudely  incised  letters. 

No.  56.  A fragmentary  lamp  of  red  clay,  with  a grooved  nozzle, 
similar  to  the  group  47 A and  B,  undecorated.  On  the 
bottom,  in  good  raised  letters,  is  the  inscription  LVPATI. 

No.  57A,B,C,D.  Four  lamps,  identical  with  the  groups  53  and  54; 

their  only  interest  lies  in  the  inscriptions  found  upon  them. 

57A.  C'l  V L'N  I CEF  (C.  Julius  Nicepherus.) 

57B.  ONTEVFI. 

57C.  N NAE  LVCI  (very  clear)  (L.  Nacvius  Lucius). 

57D.  FAB  TERTI  A. 

No.  58.  A lamp  of  buff  clay,  with  a small,  plain  nozzle,  a handle  at 
the  back,  and,  around  the  edge,  a bead  decoration.  The 
centre  medallion  is  broken.  On  the  bottom  is  the  inscrip- 
tion TVND  (or  O)  R A. 

No.  59.  A lamp  of  red  clay,  with  a lug  handle  at  the  side,  undeco- 
rated, and  probably  dating  in  the  first  century  A.  D.  On 

o o o 

the  bottom  is  the  inscription  L V T. 

o o o 

No.  60A  and  B.  Two  undecorated  lamps  of  red  clay,  with  back 
handles  (that  of  No.  60A  is  broken)  and  grooved  nozzles. 
Each  has  on  the  bottom  the  inscription  M Y R O.  (Myro.) 

No.  61 A and  B.  Two  lamps,  both  with  plain,  short  nozzles  (that  of 
No.  61A  is  broken  off)  and,  on  the  bottom,  the  inscription 
FLORENT.  No.  61A  has,  in  the  centre  medallion, 
the  head  of  an  emperor  (?)  wreathed,  facing  left;  No. 
61 B is  very  much  worn,  but  the  design  suggests  the 
struggle  of  Herakles  with  the  Kerynaean  hind. 

No.  62A  and  B.  Two  lamps,  both  with  heart-shaped  nozzles,  and  on 
the  bottom  the  inscription  CAE'S  A,  can  be  made  out. 
The  whole  inscription  should  probably  read  L-CAE'SAE 
(L.  Caecilius  Saecularis). 

62A.  In  the  centre,  two  bears,  on  their  hind  legs;  around  the  outside, 
a garland  of  olive  leaves.  An  identical  specimen  signed 
by  the  same  potter  is  in  the  British  Museum  (Cat.  Lamps, 
No.  1193). 

62B.  In  the  centre,  a dolphin;  around  the  outside,  a garland,  like  the 
one  in  No.  62A.  There  is  an  unsigned  specimen  identical 
with  this  in  the  British  Museum  (Cat.  Lamps,  1195). 


1 10 


MEDITERRANEAN  SECTION 


No.  63.  A lamp  of  buff  clay  with  a high  back  handle.  The  nozzle 
has  been  broken  off.  In  the  centre  is  a fine  comic  mask. 
On  the  bottom  is  an  illegible  inscription. 

No.  64.  A lamp,  with  a volute  nozzle,  and  no  handle,  of  pinkish 
clay.  In  the  centre  is  a tragic  mask,  with  an  elaborate 
headdress.  On  the  bottom,  the  inscription  S V I. 

No.  65.  A lamp,  identical  with  the  groups  53,  54,  and  57,  with,  on 
the  bottom,  the  inscription  S V C C E(?)  S.  (S  E ?). 

No.  66.  A lamp  of  buff  clay,  with  plain  nozzle  and  back  handle. 

The  centre  has  a decoration  of  two  bunches  of  grapes. 
On  the  bottom  is  the  inscription  PAS  A V G.  (Pasenius 
Auguvinus.) 

No.  67.  A large  lamp  of  red  clay,  decorated  with  a stag  running  to 
right.  Behind  him  is  a tree.  On  the  bottom  is  the 
inscription  C*C  L O S V C.  (C.  Clodius  Successus.) 

No.  68.  A lamp  of  red  clay,  badly  broken,  with  a spirited  decoration 
of  a nude  horseman  galloping  to  right. 


ill 


MISCELLANEOUS  GREEK,  ETRUSCAN,  AND 

ROMAN  OBJECTS. 

Case  XVI. 

The  objects  here  exhibited  are  impossible  properly  to  classify, 
as  they  seem  to  be  of  every  period,  and  to  fit  into  no  particular 
category.  They  have  been  numbered,  for  convenience,  to  follow  the 
Roman  lamps,  as  the  majority  of  the  objects  seem  to  be  Roman. 
There  are,  however,  two  exceptions,  namely,  the  openwork  grill,  and 
the  terracotta  slab  with  figures  in  relief,  which  have  been  numbered 
to  follow  the  last  Etruscan  objects  in  Case  XXXIV,  as  both  these 
specimens  are  Etruscan  architectural  fragments. 

No.  69.  A plaque,  shaped  like  a krater  or  mixing  bowl,  with  volute 
handles.  This  is  of  late  Italic  or  Roman  manufacture. 
First  century  B.  C. 

No.  70.  A vase  in  the  form  of  a flask,  with  two  S-shaped  handles, 
and  on  either  side  a gorgon’s  head  in  relief.  The  clay  is 
light  in  color,  and  there  may  have  been  polychrome 
decoration.  Roman.  First  century  B.  C. 

No.  71.  A terracotta  plaque  of  a sphinx,  of  late  Greek  or  Roman 
manufacture. 

No.  72.  A terracotta  mask  of  a bearded  man.  Hellenistic  or  Roman. 
Found  near  Beyrout,  Syria. 

No.  73.  A pendant  of  terracotta,  in  the  form  of  a medallion,  with 
two  holes  at  the  top  by  which  to  hang  it.  In  the  centre  is  a 
Medusa  head.  Probably  the  work  of  Greek  colonists  in 
Southern  Italy,  and  of  the  fourth  or  third  centuries  B.  C. 
Traces  of  polychrome  decoration  exist. 

No.  74.  A set  of  four  terracotta  weights.  Their  original  provenance 
is  unknown,  but  may  well  have  been  Athens,  as  they  all 
have  the  typical  Attic  owl  and  amphora  in  relief  on  them. 
In  no  case  can  they  antedate  the  Roman  period. 

No.  75.  A similar  weight,  with  a relief  of  the  infant  Herakles  stran- 
gling the  serpents. 

No.  76.  A similar  weight,  with  a palmette  design. 

No.  77.  Another  terracotta  weight,  with  a small  floral  pattern. 

No.  78.  Another  weight,  with  a relief  of  two  heads,  facing  each 
other.  All  of  these  weights  are  of  the  Roman  period. 


112 


M EDITE  R R A NE  AN  S EC  T IO N 


No.  79.  A collection  of  eight  fragments  of  Roman  bricks,  stamped 
with  various  inscriptions,  and  belonging  to  various  periods. 


No.  275.  A collection  of  fragments  of  an  Etruscan  openwork  grill, 
found  at  Orvieto.  With  this  exhibit  a photograph  has 
been  placed,  showing  a correct  restoration  of  the  original 
pattern  from  these  fragments,  many  of  which  are  not  on 
exhibition.  The  decoration  was  originally  of  double 
thickness,  and  ran  along  the  ridgepole  of  a temple. 
Notice  the  polychrome  decoration.  Fourth  century  B.  C. 

Luce  and  Holland,  A.  J.  A.,  XXI,  1917,  296-307, 
Fig.  1.  E.  I).  Van  Buren,  ibid.,  XXIII,  1919,  Luce, 
ibid.,  157-160,  161-2. 

No.  276.  A slab,  possibly  a small  metope,  of  terracotta,  with  a 
design  in  relief  of  a man  in  a short  garment,  of  the  type 
called  a chiton,  carrying  a staff  in  his  left  hand,  and 
accompanied  by  a boy  and  a lamb.  At  the  right  is  a 
tree,  around  which  is  a serpent.  This  is  perhaps  a repre- 
sentation of  Jason  and  the  Golden  Fleece.  The  prove- 
nance is  unknown,  but  it  is  either  Etruscan,  or  from 
Southern  Italy,  in  the  neighborhood  of  Tarentum. 
Fourth  or  third  centuries  B.  C. 


ITALIC  ANTIQUITIES— PRINCIPALLY  ETRUSCAN 

See  A.  J.  A.,  v,  1901,  p.  17  (Frothingham) : Furtwangler,  Sit- 
zungsberichte  der  Akademie  zu  Munchen,  1905,  p.  254  ff. 


ETRUSCAN  BUCCHERO  WARE 

Case  XVII. 

This  is  the  national  pottery  of  Etruria, — its  great  contribution 
to  the  history  of  ceramic  art.  Other  peoples  have  produced  ware 
of  this  kind,  notably  Cyprus  among  classical  lands,  but  none  have 
brought  it  to  the  height  of  perfection  to  which  the  Etruscans 
attained. 

The  pottery  is  heavy  and  coarse  in  shape  and  design,  compared 
with  the  delicacy  and  refinement  of  the  Attic  ware.  An  undercurrent 
of  Greek  influence,  however,  makes  itself  felt.  In  the  forms  of 
the  oenochoe  and  the  kantharos,  the  original  Greek  shape  is  often 
exactly  copied;  while  in  the  others,  the  suggestion  of  Greek  proto- 
types often  appears. 

Chiusi,  the  ancient  Clusium,  seems  to  have  been  the  centre  for 
the  manufacture  of  this  pottery,  which  was  spread  over  the  country. 

A curious  feature  of  the  bucchero  ware  is  that  it  cannot  be 
dated  exactly.  We  know  that  its  manufacture  began  in  the  sixth 
century  B.  C.,  and  that  it  continued  to  be  made  in  the  fourth;  but 
beyond  that  we  know  nothing.  The  same  methods  were  employed, 
and  the  same  kind  of  vases  made  for  two  centuries.  They  can  be 
dated  only  when  they  are  found  together  with  Greek  vases,  of 
known  date. 

In  decoration,  there  are  four  styles,  all  existing  side  by  side, 
all  continuing  through  the  two  centuries  during  which  this  ware 
was  made.  There  are,  first,  the  undecorated  vases.  Secondly, 
there  are  those  with  incised  designs,  a relatively  rare  class,  and 
commoner  in  the  early  period  than  it  is  later.  The  third  and  fourth 
classes  both  employ  relief  decoration.  In  one,  the  design  is  laid 
on  the  moist  clay  by  rolling  a cylinder  around  the  side  before  firing; 
in  the  other,  the  design  is  made  by  moulds.  The  latter  is  the  more 
common  of  the  two;  and,  indeed,  the  most  common  of  all  the  forms 
of  ornamentation.  It  is  extremely  noticeable  that  these  potters 


114 


MEDITERRANEAN  SECTION 


are  deliberately  striving  to  imitate  metal  technique;  the  forms 
sug£est  bronze  vessels  cast  in  a mould.  Often  the  illusion  is  carried 
further,  and  chains,  either  of  clay  or  metal,  are  made  to  hang  from 
the  handles. 


No.  1.  A chalice,  on  a high  stem,  and  without  handles,  with  simple 
designs  in  relief.  This  is  a characteristic  bucchero  form. 
From  Orvieto. 

No.  2.  A pitcher,  undecorated,  but  showing  in  its  shape  the  influ- 
ence of  Greek  forms.  Found  at  Chiusi. 

No.  3.  A kantharos,  decorated  with  designs  stamped  from  moulds. 

From  the  Coleman  Coll.:  sale  lat.  p.  35,  No.  153:  prove- 
nance uncertain. 

No.  4.  A chalice,  of  more  graceful  form  than  No.  1 , on  a high  stem, 
and  without  handles,  having  its  decoration  applied  by 
means  of  cylinders.  This  form  attained  great  popularity 
with  the  Etruscan  potters,  and  was  brought  to  perfection 
by  them.  Found  at  Chiusi. 

No.  5.  A pair  of  undecorated  amphorae.  The  sloping  neck  and 
flat  handles  are  in  imitation  of  metal  technique.  Both 
from  Chiusi. 

No.  6.  A pair  of  covered  bowls,  small  and  undecorated.  Both  from 
Chiusi. 

No.  7.  An  amphora  of  a characteristic  shape.  The  moulded  decora- 
tion shows  the  influence  of  the  Orient,  with  its  band  of 
sphinxes;  and  it  may  be  said  that  with  the  bucchero 
wrare  the  decoration  is  always  orientalizing  as  long  as 
this  pottery  lasts.  Chiusi,  being  inland,  and  removed 
from  the  influence  of  trade  writh  foreign  countries,  which 
was  strong  in  such  places  as  Vulci,  Tarquinii,  and  Caere, 
kept  to  the  end  the  ideas  of  the  Orient,  unhindered  by 
Greek  influence,  except  that  Greek  shapes  were  often 
employed.  Found  at  Chianciano,  but  probably  made  at 
Chiusi. 

No.  8.  An  undecorated  chalice,  on  a very  high  stem.  The  cup  is 
small,  and  round,  with  a flat  lip.  Found  at  Chiusi. 

No.  9.  A pair  of  undecorated  kantharoi.  The  beautiful  shape 
shows  Greek  influence.  Both  from  Chiusi. 

No.  10.  A very  graceful  oenochoe,  or  pitcher,  with  a round  body, 
undecorated.  Found  at  Chiusi. 


THE  UNIVERSITY  MUSEUM 


No.  11. 
No.  12. 


No.  13. 


No.  14. 
No.  15. 
No.  16. 
No.  17. 


No.  18. 
No.  19. 

No.  20. 


No.  21. 
No.  22. 
No.  23. 


A pair  of  pitchers,  decorated  with  simple  incised  designs. 

From  Chiusi. 

A covered  jar  without  handles,  possibly  a burial  urn. 
Undecorated.  Said  to  have  been  found  in  the  Alban 
Hills. 

A pair  of  oenochoae,  or  pitchers,  with  moulded  decoration 
in  relief,  showing  marked  oriental  influence,  perhaps 
brought  in  through  the  Ionian  and  Corinthian  vases. 
One  has  a design  of  antelopes  or  deer  in  relief.  It  is  from 
Chiusi  and  was  formerly  in  the  Coleman  Coll,  (sale  cat. 
159;  p.  35).  The  other  has  lions’  and  horses’  heads, 
and  was  found  at  Orvieto. 

A large  oenochoe,  with  designs  in  relief  of  sphinxes,  and  other 
oriental  motives.  Found  at  Orvieto. 

A stand  for  fruit  or  other  food,  of  purely  Etruscan  shape, 
from  Chiusi. 

A jug  of  bucchero  ware,  with  a cover,  revealing  a tendency 
to  imitate  metal  vases.  From  Chiusi. 

A large  vase  of  bucchero  ware,  found  south  of  Chiusi,  but 
probably  made  at  Clusium.  It  is  said  to  have  contained 
ashes,  and  was  therefore  a cinerary  urn.  The  decoration 
of  horsemen,  in  the  usual  moulded  style,  is  striking, 
although  the  clay  lacks  the  brilliant  black  finish  of  the 
ordinary  vases. 

A large  pitcher  of  heavy  clay,  with  a simple  mould  decora- 
tion. From  Chiusi. 

A rhyton,  or  drinking  horn,  in  the  form  of  a ram’s  head. 
This  is  a copy  of  similar  vases  of  Greek  manufacture. 
Vases  of  this  or  similar  shapes  were  common  in  the  Attic 
redfigured  period,  and  earlier.  Provenance  unknown. 

A vase  of  cylindrical  shape,  with  a slightly  flaring  lip,  and 
no  handles.  In  the  centre  it  is  girt  with  a ring  in  high 
relief.  This  shape  is  quite  unusual.  Provenance  unknown. 

A pitcher,  or  oenochoe,  with  orientalizing  designs  in  relief 
of  heads  in  profile,  with  the  Egyptian  style  of  wearing  the 
hair.  Found  at  Orvieto. 

A tray  on  a high  foot,  with  a decoration  of  three  heads  on 
the  rim.  The  hair  is  worn  after  the  Egyptian  manner. 
Found  at  Chiusi. 

A pair  of  amphorae,  showing  the  influence  of  the  Orient. 


116 


MEDITERRANEAN  SECTION 


Along  the  rims  of  these  two  vases  are  medallions  of  heads 
treated  with  headdresses  resembling  the  Egyptian.  Found 
at  Chiusi. 

No.  24.  A typical  Etruscan  stand  for  offerings.  Found  at  Chiusi. 

No.  25.  A pair  of  trays,  with  high,  vertical  handles.  These  trays 
originally  rested  on  high  stems,  and  were  perhaps  used  to 
hold  offerings  of  first  fruits,  or  similar  sacrifices,  to  the 
departed,  in  whose  tomb  they  were  found.  Provenance 
unknown. 

No.  26.  A very  curious  pitcher.  This  vase  combines  both  incised 
and  relief  decoration,  the  reliefs  being  applied  by  rec- 
tangular stamps,  the  whole  of  which,  including  the  figures 
in  relief,  is  left  on  the  vase.  Between  these  raised  rec- 
tangles, of  which  there  are  three  in  all,  there  are  incised 
decorations.  The  lip  of  the  pitcher  also  is  curious,  in  that 
it  is  in  the  form  of  a strainer.  Said  to  have  come  from  the 
Alban  Hills. 

No.  27.  A tall  amphora,  with  a cover,  having  normal  relief  decora- 
tions of  the  type  stamped  from  moulds,  combined  with 
incised  ornamentation.  The  vase  is  imperfectly  fired,  and 
is  grey,  instead  of  the  usual  brilliant  black  of  bucchero 
ware.  Said  to  come  from  Chianciano. 

No.  28.  A strainer  for  wine.  This  is  a peculiarly  well  preserved 
specimen.  The  top  was  made  to  fit  over  a narrow  vessel, 
like  a cup  or  pitcher.  It  is  perforated  with  small  holes, 
so  small  that  only  the  liquid  can  get  through,  leaving 
sediment  or  other  matter  on  the  surface.  The  liquid  then 
went  through  the  narrow  tube  into  the  vessel.  It  would 
be  easy  to  refilter  the  wine  by  stretching  a small  piece  of 
linen  across  the  end  of  the  tube,  and  thus  keep  out  any 
matter  that  might,  by  any  possibility,  have  gone  through 
the  holes  at  the  top.  Said  to  come  from  Chiusi.  Formerly 
in  Coleman  Coll;  sale  cat.,  p.  36,  No.  176. 

No.  29.  A tall  amphora,  with  the  usual  orientalizing  design  in  relief, 
this  time  taking  the  form  of  a frieze  of  lions.  Provenance 
unknown. 

No.  30.  A brazier  of  the  kind  used  among  those  classes  among  the 
Etruscans  who  could  not  afford  to  have  them  in  bronze. 
Made  of  heavy  coarse  clay,  hardened  by  firing  to  the 
highest  point,  it  served  admirably  for  the  making  of  a fire 


117 


THE  UNIVERSITY  MUSEUM 


for  warmth,  or  for  cooking  purposes.  With  this  example 
were  found  a number  of  vases  and  other  objects  of  buc- 
chero  ware,  evidently  used  for  cooking.  Two  of  them  have 
been  placed  with  this  brazier;  they  are  a small  bowl,  and 
a plaque,  often  called  a palette  by  experts.  Found  at 
Chiusi. 

No.  31.  A pitcher,  with  the  usual  orientalizing  designs  in  relief. 

It  has  been  broken  and  mended.  From  Chiusi. 

No.  32.  A large,  cauldronlike  pot,  with  a frieze  of  cats  around 
it,  stamped  on  from  moulds.  There  are  three  knob 
handles.  Provenance  unknown.  Coleman  sale  cat.,  p.  37, 
No.  188,  and  pi. 

No.  33.  A small,  undecorated  goblet  on  a low  stem.  From  Chiusi. 

PRIMITIVE  ITALIC  POTTERY,  MOSTLY  PRE-ETRUSCAN. 
Case  XVIII. 

These  objects  are  from  Italic  and  early  Etruscan  tombs  excavated 
in  Italy  for  this  Museum.  Most  of  the  tombs  date  at  least  from  the 
seventh  century  B.  C.,  and  sometimes  very  much  earlier;  many  of 
the  vases  and  pots  exhibited  here  were  made  by  hand,  without  the 
aid  of  the  potter’s  wheel;  while  others  are  of  the  early  bucchero 
ware,  before  it  attained  the  perfection  shown  in  Case  XVII. 

Of  these  early  tombs  there  are  two  classes.  The  earliest  seem 
to  be  the  well  tombs  (tombe  a pozzo,  the  Italian  name,  being  in 
general  use  for  this  type)  and  the  vases  and  other  objects  found  in 
these  tombs  are  said  to  belong  to  that  period  of  Italic  civilization 
known  as  the  Villanuova  period.  A characteristic  urn  of  the 
Villanuova  type  is  No.  44  E in  this  case.  The  other  class  of  tombs  of 
this  early  period  is  that  of  the  trench  tombs  (tombe  a fossa)  which  is 
often  synchronous  with  the  well  tombs.  A third  kind,  that  of  the 
chamber  tombs  (tombe  a camera)  is  more  properly  a genuine 
Etruscan  form. 

The  pottery  in  this  case  has,  as  far  as  possible,  been  arranged 
according  to  tombs,  all  vases  from  the  same  tomb  being  placed 
together.  The  tomb  groups  thus  formed  are  given  numbers,  and 
the  objects  are  distinguished  by  letters  of  the  alphabet. 

Most  of  these  vases  were  found  at  a site  called  Narce,  in  Central 


118 


MEDITERRANEAN  SECTION 


Italy;  and  it  should  be  borne  in  mind  that  whereas  in  the  well  tombs 
the  remains  are  regularly  cremated,  in  the  trench  tombs  inhumation 
is  the  usual,  but  not  invariable  custom. 

No.  34.  Group  of  pottery  from  a very  early  tomb  of  the  seventh 
century  B.  C. 

A,  A.  A pair  of  large  vases,  each  on  a tall,  sloping  stem,  heavy 

and  clumsy  in  shape.  They  were  probably  used  for 
offerings. 

B, B.  A pair  of  amphorae  of  a crude  shape,  hand  made. 

C.  A group  of  four  small  vases  of  early  bucchero  ware. 

D.  Another  group  of  two  similar  vases. 

No.  35.  A group  from  a tomb  of  a little  later  date.  The  objects  in 
this  tomb  group  can  be  approximately  dated  by  the  speci- 
men D.  Bronze  objects  found  with  this  pottery  will  be 
found  under  the  number  61  in  Case  XIX. 

A.  An  amphora  with  a ribbed  body,  and  vertical  handles 

joining  the  shoulder  and  the  lip,  and  hand  made. 

B.  A group  of  two,  small,  undecorated  vases. 

C.  A vase  support  of  red  clay,  decorated  with  designs  in 

white. 

D.  A small  cup  of  supreme  importance,  which  serves  to  fix 

the  date  of  the  other  objects  in  this  tomb.  It  is  a 
proto-Corinthian  skyphos,  or  small  drinking  cup,  and 
we  know  that  such  vases  date  in  the  seventh  century 
B.  C.  Thus  this  little  specimen  proves  the  other 
objects,  both  of  pottery  and  bronze,  found  in  this 
tomb,  to  be  of  that  period. 

E.  A group  of  two  trays  for  offerings. 

F.  A kantharos  of  early  bucchero  ware. 

No.  36.  The  remains  in  this  trench  tomb  were  those  of  a little  girl. 

The  bronze  objects  found  with  these  vases  will  be  found 
under  the  number  59  in  Case  XIX. 

A.  A group  of  eight  small  vases,  of  which  three  are  trays  on 

low  stems,  three  are  small,  crude  amphorae,  resting  on 
these  trays,  and  the  other  two  are  one-handled  cups. 

B.  A miniature  vase  support,  with  a vase  resting  upon  it, 

decorated  with  geometric  designs  in  red  on  a buff  clay. 
These  vase  supports  will  be  fully  discussed  under 
Case  XXXVII. 


119 


THE  UNIVERSITY  MUSEUM 


C.  A group  of  three  small  trays.  One  is  of  dark  clay;  the 

other  two  (of  which  one  has  a cover)  have  geometric 
designs  in  red  on  buff. 

D.  A cup  on  a high  stem,  in  which  is  another  onehandled 

cup,  or  ladle. 

No.  37.  A group  of  pottery  of  the  earliest  form  of  Italic  geometric 
ware.  All  are  said  to  have  come  from  the  same  tomb. 
This  pottery,  though  it  comes  from  Etruria,  cannot  be 
said  to  be  Etruscan,  in  the  sense  that  bucchero  ware  is 
Etruscan,  but  should  be  called,  for  want  of  a better  name, 
Villanuovian,  as  that  civilization,  represented  by  the 
Villanuova  urns,  of  which  C in  this  group  is  an  example, 
seems  to  be  non-Etruscan,  and  pre-Etruscan,  though  we 
do  not  know  definitely  who  the  makers  are.  The  date 
on  the  label  (eighth  century  B.  C.)  is  conservative,  but 
fairly  accurate.  The  urn  C is  hand  made;  but  the  others 
seem  to  be  made  with  the  aid  of  the  wheel.  The  decora- 
tions are  in  red  on  a buff  ground. 

A.  A bowl  with  geometric  decorations  of  animals. 

B.  A vase  in  the  form  of  a pail,  with  a handle  at  the  top. 

C.  Urn  of  the  typical  Villanuova  shape,  with  elaborate 

geometric  decorations.  This  probably  contained  the 
ashes  of  the  occupant  of  the  tomb. 

D.  Small  vase  support  with  a vase  in  place  at  the  top.  The 

support  has  a checkerboard  decoration,  in  the  centre, 
with  linear  decorations  above,  and  lines  and  triangles 
below.  The  vase  has  a design  of  concentric  circles. 

E.  A shallow  dish  on  a low  stem,  with  geometric  designs 

in  red. 

F.  A vase  similar  to  the  one  in  the  support  D,  with  the 

same  design  of  concentric  circles. 

No.  38.  A group  of  two  early  Italic  geometric  cups,  one  of  them  on 
a stem,  hand  made. 

No.  39.  A skyphos  of  Italic  geometric  ware. 

No.  40.  A cup,  on  a tall,  thick  stem,  of  Italic  geometric  ware. 

No.  41.  An  early  bucchero  goblet,  of  the  seventh  century  B.  C. 

No.  42.  A pitcher  of  Italic  geometric  ware,  broken  and  mended. 

No.  43.  A group  typical  of  the  early  Etruscan  pottery.  These 
large,  crude  vases  occur  quite  commonly  in  the  pre- 
bucchero  ware  (sometimes  called  impasto).  They  were 


120 


M EDITE R RANEAN  SECTION 


apparently  for  drinking,  being  too  large  to  be  used  as 
ladles,  as  vases  of  this  shape  usually  were. 

No.  44.  A group  from  an  early  Etruscan  tomb.  These  vases  seem 
for  the  most  part  to  be  made  on  the  wheel ; the  presence 
of  a \ illanuova  urn  (E)  in  this  tomb  group  proves  that, 
if  this  be  Estruscan  at  all,  it  must  rank  as  very  early  in  the 
period. 

A.  A bowl  of  coarse  reddish  clay,  fired  black,  on  a high 

stem.  Hand  made. 

B.  An  amphora  on  a high  foot,  with  vertical  handles;  the 

clay  is  the  same  as  in  the  preceding  specimen,  but  the 
vase  seems  to  be  wheel  made. 

C.  A small  kyathos,  or  ladle,  of  early  bucchero  ware. 

D.  An  Etruscan  vase  support  of  the  seventh  century  B.  C., 

of  medium  large  size,  and  of  red  ware,  without  any 
applied  decoration.  It  contains  a large  vase  of  the 
same  ware,  also  undecorated.  Both  the  support  and 
the  vase  are  wheel  made.  Vases  and  supports  of  this 
kind,  smaller  examples  of  which  we  have  already  seen 
in  this  case,  are  probably  not  for  ashes,  but  for  offer- 
ings, or  possibly  for  cooking. 

E.  An  urn  of  the  Villanuova  shape,  of  the  same  red 

ware,  broken  and  mended.  It  may  antedate  the  vase 
support  slightly,  and  can  be  considered  a late  speci- 
men of  the  Villanuova  urn. 

F.  A coarse,  crude,  hand  made  bowl  of  the  same  type  of 

clay  as  A and  B. 

No.  45.  A group  of  two  early  bucchero  vases;  one,  a rough  amphora, 
and  the  other  a cup  on  a low  stem. 

No.  46.  A burial  urn,  showing  the  kind  of  cover  used  by  the  pre- 
Etruscan  peoples.  It  will  be  noticed  that  it  is  of  a dif- 
ferent kind  of  clay  from  the  urn  itself.  This  urn  still 
contains  the  ashes  of  the  man  or  woman  buried  in  the 
tomb  of  which  it  was  the  principal  object. 

No.  47.  A group  of  three  small  vases,  similar  to  those  in  the  group 
numbered  45. 

No.  48.  A group  of  six  miscellaneous  small  vases  of  Italic  geometric 
and  impasto  ware.  It  includes  two  trays,  a shallow  dish, 
and  a pitcher  of  the  geometric  pottery,  and  two  small 
impasto  vases. 


121 


THE  UNIVERSITY  MUSEUM 


No.  49.  Two  vase  supports,  one  of  geometric  ware,  and  one  of  red 
ware.  With  the  geometric  example  is  the  vase  that 
went  with  it  originally. 

No.  50.  A group  of  nine  small  vases,  principally  of  the  Villanuova 
period. 

No.  51.  A fairly  large  vase  support  of  geometric  ware,  with  the  vase 
belonging  to  it,  which  is  of  buff  pottery,  with  a reddish 
brown  slip,  and  undecorated. 

No.  52.  A group  of  ten  small  vases,  hand  made,  of  the  Villanuova 
period. 

No.  53.  Two  Italic  geometric  trays,  each  with  a cover.  One  of 
these  covers  is  of  plain  reddish  ware. 

No.  54.  A vase  support  of  red  ware  with  a vase  of  reddish  brown 
ware. 

No.  55.  A Villanuova  urn  of  red  clay,  with  a heavy  black  cover. 

PRIMITIVE  ITALIC  BRONZE  OBJECTS  AND  JEWELRY. 
Case  XIX. 

These  objects  come,  for  the  most  part,  from  the  tombs,  the 

pottery  from  which  is  shown  in  Case  XVIII.  They  are  practically 

all  from  Narce  in  Etruria.  Each  tomb  group  is  given  a number, 

and  the  objects  are  distinguished  by  letters. 

No.  56.  Group  from  an  early  tomb. 

A.  Fragments  of  a bronze  bit.  To  one  of  these  fragments 

a piece  of  the  horse’s  jaw  bone  adheres,  with  well 
preserved  teeth. 

B.  A bronze  bracelet. 

C.  Two  bronze  fibulae,  or  brooches.  Fibulae  are  among 

the  commonest  of  objects  found  in  these  early  tombs. 

D.  Two  fragments  of  small  bronze  chains. 

No.  57.  These  are  the  bronze  objects  from  the  tomb  of  which  the 
pottery  is  listed  under  the  number  37  in  Case  XVIII. 
That  the  tomb  was  of  a woman  is  shown  by  the  nature  of 
these  bronze  ornaments. 

A.  A group  of  three  bronze  handles  for  a pail  or  bucket. 

B.  A pair  of  handles  for  a cup,  or  other  bronze  vase. 

C.  A heavy  bronze  armlet,  with  a brooch  attached. 


122 


MEDITERRANEAN  SECTION 


D.  A series  of  beautiful  ornaments  of  gilded  bronze,  the 

gilding  being  of  heavy  gold  leaf,  showing  the  skill  of 
these  early  peoples  in  the  goldsmith’s  art. 

E.  A group  of  fibulas,  or  brooches. 

F.  Three  pendants,  perhaps  used  as  weights  for  drapery. 

This  form,  of  a solid  bar,  with  three  little  drops 
hanging  from  it,  is  very  common. 

G.  A pottery  ladle  of  the  seventh  century  B.  C. 

H.  Part  of  a necklace  of  glass  beads. 

I.  Beads  and  other  objects  of  amber. 

J.  Fragments  of  bronze  rings  and  chains. 

K.  Pendants,  such  as  hang  on  weights  similar  to  F. 

L.  A pair  of  ornaments,  originally  gilded,  with  teeth  like 

those  of  a comb.  They  were  worn  around  the  neck. 

M.  A pair  of  bullae,  one  large,  one  small.  Every  Etruscan 

and  Italic  child  had  such  a thing  put  around  its 
neck  at  birth,  as  these  bullae  were  supposed  to  contain 
amulets  to  avert  the  evil  eye.  As  the  child  grew,  the 
bullae  were  changed,  and  larger  ones  put  in  their 
place. 

N.  A faience  image  of  a dog.  This  is  non-Italic,  and  was 

an  importation  from  Egypt  or  Phoenicia. 

O.  A similar  image  of  a duck. 

P.  A bead,  on  which  is  a design  in  intaglio,  probably 

Egyptian. 

No.  58.  Group  from  another  early  tomb.  The  pottery  associated 
with  these  objects  will  be  found  in  Case  XVIII,  under  the 
numbers  51  and  52. 

A.  Three  fragments  of  a bronze  girdle. 

B.  A bronze  bulla. 

C.  A bronze  razor,  a blunt  looking  shaving  appliance. 

D.  A fine,  long  necklace  of  flat  beads. 

E.  A series  of  six  Egyptian  goddesses,  which  serve  to  date 

the  objects  in  this  tomb  in  the  seventh  century  B.  C. 

F. F.  A large  assortment  of  fibulae,  or  brooches. 

G.  A large,  heavy  bronze  armlet.  Within  is  an  arrow  head 

of  flint. 

H.  Miscellaneous  objects,  including  a pair  of  tweezers,  and 

a bead  of  blue  glass. 


123 


THE  UNIVERSITY  MUSEUM 


No.  59.  Bronze  objects  from  the  tomb  of  a little  girl,  the  pottery 
from  which  is  under  No.  36  in  Case  XVIII. 

A.  A group  of  five  bronze  bracelets. 

B.  A large  collection  of  small  brooches,  some  of  which  were 

gilded. 

C.  A number  of  beads  and  other  objects,  including  one  of 

gold. 

No.  60.  Bronze  objects  from  a tomb,  the  pottery  from  which  will  be 
found  under  the  numbers  48  and  49  in  Case  XVIII. 

A.  A fragmentary  bowl  of  bronze. 

B.  Two  bronze  armlets. 

C.  Five  bronze  fibulae. 

D.  A weight,  like  those  under  No.  57  F. 

E.  A series  of  bronze  rings  and  fragments. 

F.  Three  bronze  spiral  ornaments,  perhaps  used  as  weights 

for  drapery. 

No.  61.  Bronze  objects  from  a tomb  of  the  seventh  century  B.  C. 

The  pottery  is  to  be  found  in  Case  XVIII,  under  the 
number  35,  and  the  example  D in  that  group  serves,  to 
date  the  objects  found  with  it. 

A.  Four  bronze  bullae,  of  varying  sizes. 

B.  A series  of  ornaments  of  gold  and  gilded  bronze,  very 

beautifully  wrought. 

C.  A small,  nude,  female  figure,  carved  in  amber. 

D.  A set  of  four  Egyptian  amulets. 

E.  Two  fibulae,  one  covered  with  gold  wire. 

F.  A pair  of  bronze  tweezers,  used  often  in  the  toilet  instead 

of  razors,  for  pulling  out,  rather  than  cutting  the  beard. 

G.  Two  bronze  fibulae. 

H.  A set  of  rings  of  fine  bronze  wire. 

No.  62.  Bronze  objects  from  the  same  tomb  as  the  collection  of 
pottery  in  Case  XVIII,  under  the  number  34.  Seventh 
century  B.  C. 

A.  A bronze  handle  of  fine  workmanship  and  design.  In  the 
ages  in  which  this  has  been  buried  underground  it 
has  taken  on  a beautiful  incrustation,  known  as 
patina.  In  the  majority  of  cases,  such  a patina  is 
green  Here,  however,  it  will  be  noticed  that  it  is  a 
beautiful  and  unusual  blue,  which  adds  to  the  rarity 
of  the  object. 


124 


MEDITERRANEAN'  SECTION 


B.  A collection  of  fibulas  of  bronze. 

C.  A bronze  razor,  with  a fine  patina. 

D.  Spiral  sheathing  of  bronze,  for  a staff. 

E. E.  A large  series  of  spiral  rings  of  fine  bronze  wire. 

F. F.  Two  small  bronze  bracelets. 

G. G.  A series  of  four  rods  of  bronze. 

H.  Two  bronze  nails,  used  perhaps  as  studs  in  a shield,  or 

other  piece  of  armor. 

I.  Three  amber  beads. 


PRIMITIVE  ITALIC  BRONZE  ARMOR  AND 

UTENSILS. 


Case  XX. 

The  objects  contained  in  this  case  are  armor  and  large  imple- 
ments of  bronze,  from  various  tombs.  Each  of  the  objects  in  this 
case  has  its  own  number. 

No.  63.  A pair  of  drinking  cups  of  impasto  ware,  of  a graceful  shape. 

Each  is  on  a low  stem,  and  has  one  high  handle.  They  are 
therefore  something  like  the  Greek  kyathoi,  or  ladles. 
They  were  originally  decorated  with  studs  of  bronze  set 
like  a belt  around  the  widest  part  of  the  body.  Although 
the  shape  is  graceful,  the  execution  is  crude. 

No.  64.  A bronze  helmet,  found  at  Narce  in  Etruria,  said  to  be  the 
finest  specimen  of  its  kind  in  existence.  It  was  made  in  the 
seventh  century  B.  C.,  if  not  earlier.  In  the  museum  at 
Corneto,  the  modern  town  on  the  site  of  the  ancient 
Tarquinii,  there  is  a helmet  like  this;  but  it  is  not  so  fine  a 
specimen.  There  is  an  interesting  example  in  the  Metro- 
politan Museum  in  New  York. 

Frothingham,  Roman  Cities  in  Italy  and  Dalmatia, 
p.  109,  and  pi.  XIV;  S.  B.  L(uce),  Museum  Journal,  XI, 
1920,  pp.  68-71,  Fig.  43. 

No.  66.  A drinking  cup  of  impasto  ware,  undecorated,  and  in  shape 
something  like  the  two  under  the  number  63. 

No.  67.  A bronze  pitcher,  with  a good  patina. 

No.  68.  A bronze  bucket,  from  the  same  tomb  with  the  handle  No. 

62  A,  in  Case  XIX,  and  with  the  group  34  in  Case  XVIII. 
Excellent  workmanship  of  the  seventh  century  B.  C. 


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No.  70.  A two  handled  high  cup  of  bronze,  on  a foot,  rather  crudely 
executed. 

No.  71.  A stand  of  bronze  for  an  iirn.  This  is  a bronze  example  of 
the  pottery  vase  supports,  such  as  Nos.  49,  51,  and  54  in 
Case  XVIII.  The  person  who  was  buried  in  the  tomb 
where  it  was  found  must  have  been  of  considerable  import- 
ance in  his  day.  Similar  bronze  supports  found  in  the 
Regulini-Galassi  tomb  at  Caere  (the  modern  Cervetri) 
are  preserved  in  the  Etruscan  Museum  of  the  Vatican. 


PRIMITIVE  ITALIC  AND  ETRUSCAN  BRONZE 
OBJECTS  AND  JEWELRY. 

Case  XXL 

The  objects  in  this  case  are  very  similar  to  those  in  Case  XIX. 
The  specimens  are  divided  into  tomb-groups,  all  the  things  that 
were  found  together  being  placed  together.  Each  tomb  group  is 
given  a number,  and  each  object,  or  series  of  objects,  in  the  group,  is 
distinguished  by  a letter.  All  of  these  specimens  come  from  Narce, 
and  the  pottery  found  with  them  is,  for  the  most  part,  in  Case  XXII. 

No.  72.  Bronze  objects  and  pottery  found  in  the  same  tomb  with 
the  helmet  in  Case  XX. 

Frothingham,  1.  c.,  pi.  XIV;  S.  B.  L(uce),  Museum 
Journal,  XI,  1920,  pp.  68-71. 

A.  Fragment  from  a drinking  cup,  with  a handle  on  the 

rim,  made  in  a crude  design  of  a man  holding  two 
horses. 

B.  A canteen,  or  water  flask,  of  coarse  pottery.  The  side  is 

grooved  for  the  cord  to  fit,  by  which  it  was  suspended 
from  the  shoulder. 

C.  A bronze  cover  for  a vase. 

D.  A pair  of  bronze  bits. 

E.  A set  of  four  large  fibulae  of  bronze. 

F.  Two  bronze  razors. 

G.  A heavy  and  massive  bronze  bracelet. 

H.  A bulla,  or  locket  that  was  worn  fastened  by  a cord 

around  the  neck.  Within  were  amulets  to  avert  the 
evil  eye.  This  is  a typical  form,  and  much  more 
characteristic  than  those  that  are  shown  in  Case  XIX. 


126 


MEDITERRANEAN  SECTION 


I.  A set  of  six  bosses  for  harness. 

J.  A large  series  of  ornaments  for  harness  and  horse  trap- 

pings. 

No.  73.  A group  of  bronze  objects  and  jewelry  from  a tomb  in  Narce. 

The  pottery  found  here  may  be  seen  in  Case  XXII,  under 
the  number  80.  This  tomb  group  is  of  about  the  middle 
of  the  seventh  century  B.  C.,  or  even  later. 

A.  Two  large  bronze  fibulae. 

B.  Bronze  implement,  perhaps  a form  of  chisel. 

C.  Three  bronze  pins. 

D.  Miscellaneous  bronze  objects,  mostly  fibulae. 

E.  A fine  bronze  armlet. 

F.  A set  of  six  bronze  pendants,  in  the  form  of  dogs. 

G.  A long  necklace  of  flat  beads. 

H.  A long  pin,  perhaps  for  the  hair,  with  a ball  in  the  middle. 

I.  A collection  of  fragmentary  rings  of  silver  wire. 

J.  Ornaments  of  gold  leaf  of  the  Etruscan  period  from  the 

late  seventh  to  sixth  century.  Very  delicate  and 
beautiful  in  workmanship. 

K.  Two  small  bronze  human  figures,  one  male,  and  one 

female. 

L.  A collection  of  glass  and  pottery  beads. 

No.  74.  Bronze  objects  from  an  early  tomb.  The  pottery  group  in 
No.  82,  in  Case  XXII. 

A.  Fragments  of  a large  bronze  bowl. 

B.  Bronze  cover  for  a vase. 

C. D.  A large  number  of  fragments  of  a bronze  chair,  with  a 

wooden  core  in  the  legs. 

E.  A fragmentary  bronze  cup. 

F.  A series  of  bronze  rings  and  bracelets  of  different  sizes. 

G.  A bronze  ferule. 

H.  A group  of  small  clay  objects,  including  six  reels,  in 

shape  like  our  spools,  and  a spindle  whorl. 

No.  75.  Bronze  objects  from  the  tomb  of  a woman.  The  pottery  is 
under  the  number  81  in  Case  XXII. 

A.  A series  of  small  bronze  spirals,  and  other  ornaments. 

B.  A collection  of  bronze  pins. 

C.  A group  of  bronze  pendants. 

D.  Eight  pottery  reels,  and  a spindle  whorl. 


127 


THE  UNIVERSITY  MUSEUM 


ITALIC  AND  EARLY  ETRUSCAN  POTTERY. 

VII-VI  CENTURIES  B.  C. 

Case  XXII. 

This  pottery  is,  as  a rule,  somewhat  later  than  that  shown  in 
Case  XVIII,  and  is  also  from  tombs  at  Narce.  The  incised  ware 
resembling  bucchero  is  characteristic  of  this  period. 

Like  the  contents  of  Case  XVIII,  these  vases  are  divided  into 
groups  according  to  the  tombs  in  which  they  were  found.  Often 
these  tomb  groups  belong  with  some  of  the  groups  of  bronze  objects 
in  Case  XXL 

No.  76.  Group  of  vases  from  a tomb  of  the  seventh  century  B.  C. 

A.  Four  vases  of  early  black  ware,  resembling  bucchero. 

Most  of  them  have  incised  decoration. 

B.  Undecorated  pitcher,  of  coarse  pinkish  ware,  with  long, 

tapering  neck. 

C.  A group  of  five  vases,  resembling  those  under  A. 

D.  Two  small  trays  of  buff  ware,  with  bands  of  a brownish, 

lustrous  varnish. 

E.  Three  bowls  of  coarse  ware,  without  handles. 

F.  Flat  plate  of  red  ware.  The  decoration  is  in  white  on  a 

brilliant  red  slip. 

G.  A small  urn,  of  brown  clay. 

H.  Two  small  pitchers,  of  South  Italian  or  possibly  Greek 

manufacture.  Here  we  have  a red  clay,  to  which  a 
black  varnish  is  applied,  in  the  Attic  manner.  If 
these  are  importations,  they  would  tend  to  date  this 
tomb  group  in  the  sixth  century  B.  C. 

I.  Two  crude  Italic  amphorae. 

No.  77.  The  pottery  found  in  this  tomb  is  so  numerous  that  it  has, 
for  convenience,  been  given  three  numbers,  77,  78, 
and  79.  This  is  surely  early  Etruscan.  The  tomb  in 
which  it  was  found  was  a chamber  tomb  (toinba  a 
camera),  the  latest  form  of  all.  Accompanying  this 
pottery  is  a drawing  of  a cross  section  of  the  tomb, 
showing  how  these  objects  were  found.  No  bronze 
objects  have  been  recorded  as  associated  with  this 
pottery.  From  the  presence  of  numerous  Greek  vases 
(Corinthian  and  Italo-Corinthian),  which  are  to  be 


I 28 


MEDITERRANEAN  SECTION 


found  among  the  specimens,  we  can  date  this  very- 
large  tomb  group  as  in  the  end  of  the  seventh  century 

B.  C. 

No.  77.  I he  larger  and  more  important  vases  in  the  group. 

A.  A coarse  burial  urn,  of  reddish  ware,  undecorated. 

B.  A tray  of  buff  clay,  with  concentric  circles  of  red  and 

black. 

C.  An  amphora,  w'ith  rude  incised  designs  (rosettes,  lines, 

and  a horse  as  the  principal  decoration)  and  handles 
of  an  ambitious  character. 

D.  A dish  of  this  same  black  ware,  with  incised  decoration. 

E.  A pitcher  with  a high  lip,  and  incised  triangular  designs 

on  the  shoulder. 

F.  A pitcher  of  a more  normal  shape,  and  smaller,  with 

similar  incised  decorations  on  the  shoulder. 

G.  A pitcher  with  the  same  ornamentation  as  F,  but 

smaller. 

H.  A pitcher  having  incised  ornament  on  the  neck,  as  well 

as  on  the  shoulder. 

I.  A pitcher,  with  incised  triangles  on  the  shoulder.  It 

has  been  broken  and  mended. 

No.  78.  Continuation  of  the  pottery  from  the  same  tomb.  Under 
this  number  are  a few  Greek  and  Italo-Greek  vases,  which 
serve  to  date  the  rest  of  the  contents  of  this  tomb. 

A.  A ground  plan,  and  a drawing  of  a cross  section,  of  the 

tomb  in  which  all  this  pottery  was  found.  This  gives 
an  extremely  good  idea  of  an  early  chamber  tomb. 

B.  An  Italo-Corinthian  alabastron,  of  the  late  seventh 

century  B.  C. 

C.  An  Italo-Corinthian  oenochce  of  the  same  period. 

D.  A Corinthian  vase  of  the  early  sixth  century  B.  C., 

imported  into  Etruria. 

E.  Two  early  bucchero  vases;  a kyathos,  and  an  amphora 

with  incised  decoration. 

F.  A group  of  Italic  imitations  of  the  so  called  proto- 

Corinthian  vases  of  the  late  seventh  or  early  sixth 
centuries  B.  C.  The  little  black  vase  in  this  group  is 
Etruscan,  and  an  imitation,  in  bucchero,  of  the  shape 
most  common  in  the  proto-Corinthian  technique — the 
small  oil  flask,  or  lekythos. 


129 


TIIE  UNIVERSITY  MUSEUM 


G.  An  Italo-Corinthian  skyphos. 

H.  A bowl  on  a high  foot,  of  Italic  geometric  ware;  the 

designs  are  in  red  on  a buff  ground. 

I.  A plate  of  bucchero  ware,  undecorated. 

J.  A shallow  bucchero  cup,  on  a low  stem,  undecorated, 

with  a cover  which  has  elaborate  incised  decorations. 
No.  79.  Continuation  of  the  pottery  from  this  same  tomb;  the 
objects  are  distinguished  by  letters,  which  continue  those 
of  78. 

K. K.  Two  bucchero  plates,  undecorated. 

L. L.  A pair  of  Italo-Corinthian  oenochoae. 

M. M.  A round,  undecorated  bucchero  cup,  on  a stem,  with 

a cover  decorated  with  incised  ornaments. 

N.  A kantharos  of  rough  impasto  ware,  with  incised  decora- 

tion. 

O. 0.  A pair  of  amphorae,  with  ornamentations  of  pink  and 

black  on  a buff  ground,  of  identical  shape. 

P.  A pair  of  bucchero  cups,  one  undecorated,  the  other  a 

fine  chalice  with  incised  designs. 

No.  80.  A collection  of  vases  from  a similar  chamber  tomb.  The 
bronze  objects  under  the  number  73  in  Case  XXI  seem 
to  have  been  found  together  with  these  vases. 

A.  A small,  early  bucchero  amphora,  of  characteristic 

globular  shape,  with  an  incised  decoration  of  spirals. 

B.  A kantharos  of  this  early  ware,  with  a decoration  of 

knobs  and  stamped  triangles. 

C.  An  amphora  of  the  same  shape  as  A,  but  somewhat 

larger,  and  with  the  same  decoration. 

D.  A tall  jar  of  a rare  technique,  known  as  local  Italian.  It 

was  found  at  Narce  in  the  tomb  with  these  other  vases. 
The  shape  bears  a strong  resemblance  to  that  of  the 
Villanuova  urns,  refined,  and  made  on  the  wheel.  The 
designs  seem  Italic  rather  than  Etruscan.  It  is  prob- 
ably, therefore,  an  importation  from  Southern  Italy. 

E.  A skyphos  of  early  bucchero  ware,  showing  the  influence 

of  the  Corinthian  potters,  as  far  as  shape  is  con- 
cerned. It  has  an  incised  design  of  a bird. 

F.  An  amphora,  of  the  same  shape  as  A and  C,  but  very 

much  larger.  It  has  the  usual  device  of  spirals,  sur- 
mounted by  a bird. 


130 


MEDITERRANEAN  SECTION 


No.  81.  Vases  from  the  tomb  of  a woman  at  Narce.  For  bronzes, 
etc.,  in  this  tomb,  see  Case  XXI,  No.  75. 

A.  A small  vase  support,  perforated  with  holes,  broken,  and 

mended.  The  clay  is  reddish. 

B. B.  A pair  of  large  cups  or  trays,  on  high,  cylindrical  feet. 

C.  A Villanuova  urn  of  reddish  clay,  undecorated. 

D.  Three  trays  of  reddish  ware. 

E.  Two  small,  onehandled  bucchero  cups. 

F.  Three  small,  crude  kantharoi  without  stems.  One  has 

ribbed  decoration. 

G.  Five  kyathoi,  or  onehandled  cups  and  ladles  of  the  same 

ware. 

H.  Two  bucchero  bowls. 

I.  An  urn,  of  undecorated  brown  clay,  without  handles. 
No.  82.  A small  group  of  vases  from  a late  Villanuova  tomb.  For 

bronze  objects,  see  Case  XXI,  No.  74. 

A.  A late  form  of  Villanuova  cinerary  urn,  with  a lid  of 

geometric  ware  characteristic  of  the  period.  In  the 
urn  are  the  bones  of  the  deceased. 

B.  A similar  urn,  somewhat  smaller,  and  without  a cover. 

C.  A tray  of  impasto  ware,  of  a brown  color. 

D.  A bucchero  bowl. 

E.  Two  bucchero  onehandled  cups. 


ETRUSCAN  AND  ITALIC  VASES  FROM  VARIOUS 

SITES. 


Case  XXIII. 


The  pottery  in  this  case  brings  the  series  down  well  into  the  sixth 
century  B.  C.;  in  other  words,  most  of  it  is  of  a later  (and  better) 
period  than  that  in  Cases  XVIII  and  XXII.  Narce,  as  usual,  plays 
a prominent  part  in  the  number  of  objects  contributed;  but  it  is 
not,  as  in  the  contents  of  other  cases,  the  exclusive  place  of  provenance. 

In  the  numbering  of  these  vases  the  same  system  of  tomb  groups 
is  observed  but  with  slight  modifications.  It  is  possible,  though  not 
certain,  that  the  specimens  numbered  83-94  are  from  one  tomb.  In 
any  case,  it  seems  better  to  give  each  of  these  objects  its  own  number, 
as  many  of  them  are  of  real  merit.  In  every  other  case,  however, 
where  objects  are  known  to  be  from  the  same  tomb,  the  system  of 


131 


THE  UNIVERSITY  MUSEUM 


tomb  groups  has  been  adhered  to.  Bronze  objects  from  the  tombs 

will  be  found  in  Cases  XXIV  and  XXVI,  with  a few  of  major 

importance  in  Case  XXV. 

No.  83.  Six  small  undecorated  bucchero  bowls  without  handles. 

No.  84.  A small  twohandled  pot  of  early  bucchero  ware,  with 
incised  designs. 

No.  85.  A drinking  cup,  or  kyathos,  on  a high  foot.  The  one  handle 
is  very  high.  The  shape  is  very  graceful,  and  proves  it  to 
belong  in  the  sixth  century  B.  C.,  if  not  later. 

No.  86.  A pair  of  undecorated  bucchero  jugs,  of  the  same  period. 

No.  87.  An  Attic  lekythos,  of  the  early  blackfigured  technique, 
which  seems  to  have  been  found  with  these  vases,  and 
which  dates  in  the  sixth  century  B.  C.  The  painting  repre- 
sents two  men  running  a race,  with  a trainer  at  each  end. 

No.  88.  A bowl  of  coarse  pinkish  ware,  resembling  those  in  No.  76  E. 

No.  89.  Two  shallow  bucchero  bowls,  undecorated. 

No.  90.  An  Italo-Corinthian  perfume  vase,  or  alabastron. 

No.  91.  A bucchero  chalice  on  a low  foot,  with  linear  decoration. 

No.  92.  A small  Italic  cup  of  buff  clay. 

No.  93.  A pair  of  bucchero  oenochoae. 

No.  94.  An  urn,  still  containing  the  bones  of  the  deceased.  It  has  a 
decoration  of  grooves,  made  by  winding  a cord  around  the 
vase  when  it  was  still  moist,  and  then  removing  it,  when  it 
left  its  mark  on  the  surface. 

No.  95.  Group  of  pottery  from  an  early  Italic  tomb  excavated  at 
Bisenzio  (the  ancient  Bizentium)  in  Central  Italy  for  this 
Museum.  This  tomb,  though  deficient  in  pottery,  is 
important  for  the  excellent  collection  of  bronze  objects  it 
contained,  which  will  be  found  in  Case  XXIV,  under  the 
number  111. 

A.  Two  small  onehandled  pots  of  impasto  ware. 

B.  A rough  amphora  of  the  same  ware. 

C.  A kyathos,  on  a foot,  belonging  to  the  same  period. 

D.  A very  primitive  vase  with  a cover,  of  an  earlier  period 

than  the  other  examples. 

No.  96.  A large  group  of  pottery  from  a tomb  excavated  at  Vulci,  on 
the  western  coast  of  Central  Italy,  for  this  museum.  Here 
we  see  an  absence  of  the  characteristic  impasto  and  buc- 
chero wares,  and  find  instead  either  regular  Greek  geo- 


132 


MEDITERRANEAN  SECTION 


metric  types,  or  local  and  Italic  pottery  under  strong  Greek 
influence. 

For  bronze  objects  from  this  tomb,  see  No.  112  in 
Case  XXIV.  These  specimens  belong  in  the  seventh 
century  B.  C. 

A.  An  Italic  geometric  skyphos. 

B.  A dish  of  the  same  ware. 

C.  A large,  ribbed  jar,  wheel  made,  of  impasto  ware,  with 

two  side  handles. 

D.  A dish  of  undecorated  pinkish  clay. 

E.  A stand,  on  three  feet,  of  buff  ware,  undecorated. 

F.  A small  aryballosshaped  vase  of  Italic  geometric  ware. 

G.  A small  cup  of  the  same  ware,  on  a stem. 

H.  An  Italic,  or  possibly  early  Greek  jug,  made  under  late 

geometric  influence,  or  even  Corinthian. 

I.  A little  pitcher,  of  Italic  geometric  ware,  decorated  with 

lines  and  concentric  circles. 

J.  A skyphos  of  late  geometric,  or  early  Italo-Corinthian 

ware. 

K.  A small,  onehandled  cup,  of  Italic  geometric  ware. 

No.  97.  A small  jug  of  bucchero  ware,  with  incised  decorations. 

No.  98.  An  Etruscan  water  bottle,  made  in  imitation  of  metal 

technique,  and  with  the  sides  grooved,  to  receive  the  cord 
by  which  it  was  carried.  This  is  of  bucchero  ware,  and 
probably  should  be  placed  in  the  sixth  century  B.  C. 

No.  99.  An  oenochoe,  in  shape  resembling  No.  77  E,  with  very  crude 
incised  designs. 

No.  100.  A bucchero  chalice,  with  supports  in  low  relief,  resembling 
a vessel  of  cast  bronze. 

No.  101.  A group  of  pottery  said  to  have  been  found  at  Todi  in 
Umbria.  It  is  quite  unique,  and  for  this  reason  it  is  hard 
to  assign  any  definite  date  to  these  objects,  but  they 
probably  belong  in  the  period  from  the  second  century 
B.  C.  to  the  first  century  A.  D.  They  are  what  is  known 
as  ex-votos,  the  meaning  of  which  is  as  follows. 

When  a man  or  woman  died,  offerings  were  made  at 
the  grave.  Favorite  objects  belonging  to  the  deceased 
were  buried  with  the  body,  which  is  the  reason  why  all 
the  most  beautiful  vases,  bronzes,  and  the  like,  have  been 
found  in  tombs.  The  offerings  consisted  of  first  fruits  of 


133 


THE  UNIVERSITY  MUSEUM 


No.  102. 


No.  103. 
No.  104. 


No.  105. 

No.  106. 

No.  107. 
No.  108. 

No.  109. 


the  fields,  and  sometimes  flesh.  These  objects  shown  are 
clay  representations  of  these  first  fruits,  and  include  cakes 
and  a fish.  They  were  found  on  the  tray  on  which  they 
rest;  the  pitcher  was  for  drink  offerings. 

A crude  pot  of  coarse  red  clay.  On  its  side  is  scratched  an 
Etruscan  inscription  1)  As  the 

Etruscan  language  has  not  as  yet  been  deciphered,  we 
are  ignorant  of  its  meaning.  Bates,  Transactions,  Dept, 
of  Archaeology,  U.  of  Pa.,  I,  1905,  p.  167,  No.  9,  Fig.  9, 
pi.  XXII,  2. 

A large,  ribbed  kantharos  of  bucchero  ware. 

A large  Etruscan  tray  of  red  ware,  from  Veii,  which  was  one 
of  the  most  important  of  the  cities  of  ancient  Etruria,  and 
which  was  only  subdued  by  the  Romans  after  many  wars, 
and  with  great  difficulty  and  loss  of  life.  Today  Veii  is  a 
desolate  heap  of  ruins;  but  the  Italian  Government, 
before  the  outbreak  of  the  European  War,  had  commenced 
excavations  of  great  interest  there,  which  were  yielding 
very  profitable  results.  These  excavations  were  not 
interrupted  by  the  war:  the  results,  which  are  just 
beginning  to  be  made  known,  are  among  the  most  impor- 
tant in  the  history  of  Classical  Archaeology.  The  edge 
of  this  tray  is  decorated  with  a frieze  stamped  in  relief  by 
the  cylinder  process  already  described.  It  was  used  for 
offerings,  and  belongs  in  the  sixth  or  fifth  centuries  B.  C. 

An  amphora,  with  upright  handles,  and  linear  and  geometric 
designs  in  black,  on  a buff  ground.  In  shape  it  resembles 
No.  79  0,0. 

A pair  of  bucchero  cups,  with  high  handles,  in  the  form  of  a 
man  holding  two  horses,  and  with  pottery  chains  descend- 
ing from  the  handles,  in  imitation  of  metal  technique. 

An  Italic  pot  of  coarse  buff  clay,  with  geometric  designs  in 
red. 

An  urn  of  the  Villanuova  shape,  of  the  same  ware. 

It  is  possible,  though  not  certain,  that  the  vases 
105-108  are  from  the  same  tomb. 

Group  of  vases  from  an  early  Italic  tomb,  of  the  eighth  or 
seventh  centuries  B.  C.,  excavated  at  Vulci  for  this 
Museum.  The  bronzes  from  this  tcmb  are  in  Case  XXIV, 
under  the  number  113. 


134 


MEDITERRANEAN  SECTION 


A.  A Villanuova  urn  of  red  clay. 

B.  An  urn  of  Italic  geometric  ware,  with  a cover. 

C.  An  urn  of  coarse  black  ware,  with  a cover,  on  which 

are  incised  designs. 

D.  A pair  of  early  bucchero  kyathoi. 

E. E.  A pair  of  shallow  dishes,  with  high  handles,  that  may 

have  served  as  covers  to  urns. 

F.  A vase  similar  to  the  preceding,  but  smaller,  and  of 

finer  clay. 

G.  A pair  of  small  amphorae,  with  designs  in  white  on  a 

black  ground. 

H.  A high  cup  of  bucchero,  with  one  handle,  and  incised 

decoration. 

No.  1 10.  Group  of  pottery  from  a very  early  tomb  at  Narce.  The 
bronze  objects  found  with  these  vases  are  in  Case  XXVI, 
No.  152. 

A.  A Villanuova  urn,  of  black  clay. 

B.  Cover  to  the  above,  of  a lighter  clay. 

C.  An  urn,  on  a foot,  of  red  ware,  much  damaged. 

I).  Two  onehandled  cups,  of  impasto  ware. 

E.  A bowl  of  coarse  ware,  like  No.  88. 

F.  A kantharos  of  impasto  ware. 

G.  Two  kyathoi,  or  onehandled  cups,  of  the  same  period. 


ETRUSCAN  AND  ITALIC  BRONZE  OBJECTS  AND 

ORNAMENTS. 

Case  XXIV. 

These  objects  are  similar  to  those  on  view  in  Cases  XIX  and 

XXL  The  same  system  of  numbering  is  here  employed. 

No.  111.  Bronze  objects  from  a tomb  at  Bisenzio,  the  ancient 
Bizentium,  or  Visentum.  For  pottery,  see  Case  XXIII, 
No.  95. 

A.  Cover  of  a bronze  vase,  with  ribbed  decoration. 

B.  An  enormous  bronze  fibula,  the  pin  sheathed  with  a 
green  stone,  and  fastened  to  a massive  bracelet.  With 
it  is  part  of  another  large  fibula. 

C.  Fragments  of  gold  ornaments. 

D.  A pair  of  bronze  vase  handles. 


135 


THE  UNIVERSITY  MUSEUM 


E.  A small  bronze  ornament  in  the  form  of  a wheel. 

F.  A necklace  of  glass  and  crystal  beads. 

G.  A long  bronze  chain,  to  which  fibulae  are  attached. 

H.  Fragments  of  silver  rings. 

I.  An  excellently  preserved  razor. 

J.  An  amber  ring,  in  fragments. 

K.  A bronze  distaff. 

L.  Two  bronze  fibulae,  with  flat  guards  for  the  pins. 

M.  Three  bronze  fibulae. 

N.  A fine  bronze  spearhead. 

No.  112.  Bronze  objects  from  a tomb  in  Vulci.  For  pottery,  see 
Case  XXIII,  No.  96. 

A.  A bronze  nail  bent  into  a hook. 

B.  A spiral  ring  of  bronze. 

C.  Four  sheathings  of  glass,  for  the  pins  of  fibulae. 

D.  A group  of  large  bronze  spiral  ornaments,  perhaps  used 
as  weights  for  drapery. 

E.  A collection  of  fibulae. 

F.  A collection  of  glass  beads. 

G.  Miscellaneous  bronze  and  silver  rings  and  ornaments. 

H.  Amber  beads. 

I.  A small  string  of  beads. 

J.  Spiral  ornaments,  like  those  under  D,  but  smaller. 

No.  1 13.  Group  of  bronze  objects  from  a tomb  at  Vulci,  of  a some- 
what earlier  date  than  the  one  last  described.  For  pot- 
tery, see  Case  XXIII,  No.  109. 

A.  Four  bronze  or  iron  bracelets. 

B.  A group  of  fibulae  of  varying  sizes. 

C. C.  Spindle  whorls  and  reels  of  clay. 

D.  Spiral  ornaments,  like  No.  112  D. 

E.  Another  group  of  smaller  spiral  ornaments. 

F.  Fragments  of  a sword  blade  of  iron. 

No.  114.  A collection  of  objects  of  bronze,  silver,  gold,  etc.,  from  an 
early  tomb  at  Narce.  The  pottery  from  this  tomb  will  be 
found  in  Case  XXIX,  under  the  number  158. 

A.  Fragments  of  silver  rings. 

B.  A large  collection  of  bronze  fibulae. 

C.  Bronze  weights  for  drapery,  like  those  in  Case  XIX,  No. 
57  F. 

D.  Small  gold  ornaments. 


136 


MEDITERRANEAN  SECTION 


E.  A group  of  silver  brooches  and  fragments  of  rings  and 
the  like,  showing  that  the  tomb  where  they  were  found 
was  that  of  a person  of  wealth  and  distinction. 

F.  A necklace  of  glass  beads. 

G.  Seven  bracelets  of  bronze. 

H.  A razor. 

I.  Spindle  whorls  of  pottery. 

J.  Fragments  of  rings,  of  gilded  bronze  and  silver. 

K.  A fragment  of  a sword  blade  of  iron. 

No.  1 15.  Bronze  objects  from  an  early  tomb  at  Vulci.  The  pottery 
from  this  tomb  is  in  Case  XXIX,  under  the  number  157. 

A.  A bronze  hook  set  in  a bone  handle.  The  purpose  for 
which  it  was  used  is  uncertain. 

B.  Three  fibulae. 

C.  Spiral  ornaments. 

D.  A bronze  ring. 


ETRUSCAN  AND  ROMAN  BRONZE  VASES  AND 

STATUETTES. 

Case  XXV. 

The  Etruscans  excelled  in  the  casting  of  bronze,  and  their 
statuettes  are  in  many  respects  equal  to  those  of  Greek  manufacture. 
Their  large  bronze  vases  show  great  excellence  of  manufacture  as 
well;  but  in  this  they  were  surpassed  by  the  Romans. 


No.  116. 

No.  117. 
No.  118. 
No.  119. 

No.  120. 

No.  121. 
No.  122. 


An  Etruscan  phiale,  or  bowl,  perhaps  of  the  sixth  century 
B.  C. 

An  Etruscan  pitcher,  of  the  fifth  or  fourth  centuries  B.  C. 

A bronze  bowl  without  a handle. 

A bronze  pitcher  of  late  Etruscan  or  Roman  times,  in 
excellent  preservation.  Found  at  Chiusi. 

Coleman  sale  cat.,  p.  25,  No.  14,  and  pi. 

A bronze  pitcher,  in  shape  somewhat  like  the  preceding,  but 
taller  and  of  the  Roman  period. 

Coleman  sale  cat.,  p.  24,  No.  2,  and  pi. 

Bronze  drinking  cup  with  one  high  handle,  from  Bisenzio, 
belonging  with  the  tomb  groups  95  and  111. 

An  Italic  situla,  or  pail,  of  bronze,  from  the  same  tomb. 


137 


THE  UNIVERSITY  MUSEUM 


No.  123.  A small  cista,  or  toilet  box,  of  bronze,  belonging  in  the 
fourth  or  third  centuries  B.  C. 

No.  124.  A tripod  of  bronze,  from  the  same  tomb  as  group  151,  in 
Case  XXVI,  and  probably  from  the  same  one  with  the 
vases  105-108,  in  Case  XXIII. 

No.  125.  A group  of  bronze  throwing  spears  and  girdles  from  the 
tomb  of  a warrior,  of  the  sixth  century  B.  C.,  or  even 
earlier.  The  pottery  that  was  found  in  this  tomb  is  in 
Case  XXIX,  under  the  number  156. 


The  statuettes  which  fill  the  remainder  of  this  case  are  almost 
impossible  to  date  correctly,  as  objects  of  this  type  continued  to  be 
made  during  a very  long  period.  It  will,  therefore,  not  be 
expedient  to  try  to  date  the  specimens  accurately,  but  to  say  that 
they  extend  through  a period  beginning  in  perhaps  the  seventh 
century  B.  C.,  and  lasting  into  the  third. 


No.  126. 

No.  127. 
No.  128. 


No.  129. 


No.  130. 
No.  131. 
No.  132. 
No.  133. 

No.  134. 


Crude  statuette,  apparently  of  a woman,  with  a mirror, 
originally  gilded. 

Statuette  of  a female  figure  in  a short  chiton. 

Bronze  statuette  of  a soldier  wearing  a helmet.  The  helmet 
is  like  the  large  one  in  the  West  Room  (Case  VIII, 
No.  3),  known  today  as  a jockey  cap,  and  the  soldier 
is  probably  Etruscan. 

Mentioned,  S.  B.  L(uce),  Museum  Journal,  XI,  1920, 
p.  75. 

A statuette  of  Hercules,  with  his  lion’s  skin  and  club.  This 
hero  of  Greek  origin  appealed  strongly  to  the  Etruscans, 
and  was  made  one  of  their  minor  deities.  The  Greek 
name  Herakles  was  changed  by  them  to  Ercle,  from 
which  the  Romans  derived  the  name  Hercules. 

Another  statue  of  Hercules,  but  very  much  smaller. 

A very  crude  image  of  a man,  with  outstretched  arms. 

A statuette  of  a draped  male  figure,  bearded. 

Statuette  of  Hercules.  His  right  hand  originally  held  a 
club,  and  he  is  holding  the  lion’s  skin  in  his  left,  as  a shield. 

A statuette  of  a warrior;  a fine  example  of  Etruscan  sixth 
century  work.  It  is  cast  solid,  and  looks  as  if  it  had  been 
hammered  out,  rather  than  cast  in  a mould.  The  shield 
and  spear  were  made  separately,  and  fastened  into  the 
hands.  It  is  typical  of  the  period. 


138 


MEDITERRANEAN  SECTION 


No.  135. 
No.  136. 


No.  137. 


No.  138. 

No.  139. 

No.  140. 

No.  141. 
No.  142. 


No.  143. 
No.  144. 


A bronze  head  from  a statuette,  perhaps  of  a woman. 

A large  group  of  votive  bronze  figurines  of  men,  women, 
horses  and  dogs.  These  come  from  tombs,  and  their 
significance  is  uncertain.  Some  of  them  are  quite  good, 
especially  the  horse,  with  a halter  round  his  neck,  and 
the  nude  man  with  the  spear  in  his  right  hand;  but  most 
are  crudely  made,  and  seem  to  conform  to  certain  con- 
ventional types.  It  has  been  thought  that  they  are  to 
be  classed  as  votive  idols  of  the  Lares  and  Penates  of  the 
deceased;  but  this,  though  possible,  is  not  probable. 
They  are,  in  all  probability,  votive  offerings,  and  have  no 
real  significance,  in  that  they  are  not  supposed  to  be 
representations  of  any  real  person,  human  or  divine; 
nevertheless,  they  are  of  extreme  interest. 

A large  statuette  of  a youth  with  one  arm  broken  off.  In 
spite  of  its  imperfection,  it  is  one  of  the  most  noteworthy 
specimens  in  the  Museum’s  collection.  Very  interesting 
is  the  headdress,  a sort  of  close  fitting  cap,  covering  the 
back  of  the  neck,  and  ending  in  a curve  between  the 
shoulders.  The  modelling  of  the  body,  though  archaic, 
is  strong  and  virile;  the  arm  and  hand  are  out  of  propor- 
tion with  the  rest  of  the  body,  which  is  a normal  feature 
of  early  bronze  work  everywhere. 

Statuette  of  a priest,  draped  in  a himation,  and  holding  a 
lil  >ation  bowl  in  his  right  hand.  On  his  head  he  wears  a 
headdress  with  points,  like  those  of  a star. 

A statuette  of  Hercules,  of  better  workmanship  than  the 
preceding  examples  of  statuettes  of  this  hero.  It  is  of  a 
later  period. 

A statuette  of  a priest,  perhaps  of  the  Roman  period.  He 
wears  a veil  on  his  head,  and  his  body  is  draped  in  a toga. 
In  his  hand  is  a bowl  for  libations. 

A statuette  of  a priestess  (?)  with  a curious  headdress. 

Bronze  statuette  of  a boy,  of  Greek  workmanship.  Both 
forearms,  and  both  legs  below  the  knees  are  gone.  This 
little  bronze  is  of  excellent  workmanship,  and  belongs  in 
the  third  century  B.  C. 

A crude  image  of  a recumbent  panther,  perhaps  from  the 
cover  of  a cista. 

A Roman  bronze  statuette  of  a priest,  with  a libation  bowl 


139 


THE  UNIVERSITY  MUSEUM 


in  his  right  hand,  and  a box  in  his  left.  His  left  foot  is 
raised. 

No.  145.  A Roman  statuette  of  Mercury,  with  his  winged  cap  and 
caduceus. 

No.  146.  A Roman  grotesque  bronze  statuette,  probably  of  a comic 
actor,  and  dating  in  the  period  between  100  B.  C.  and 
100  A.  D. 

No.  147.  A Graeco-Roman  statuette  of  Zeus,  or  Jupiter,  nude,  but 
with  a cloak  thrown  back  over  his  shoulders,  bearded, 
and  with  a crown  on  his  head,  with  the  thunderbolt  in 
his  right  hand,  and  his  left  hand  raised.  This  charming 
little  bronze  dates  in  the  first  century  B.  C. 

No.  148.  A tall  green  glazed  jar.  There  is  a duplicate  of  this  vase  in 
the  Museo  Papa  Giulio  at  Rome.  The  two  were  found  at 
Cervetri,  which  is  on  the  site  of  the  Etruscan  city  of  Caere. 
In  this  vase  Egyptian  influence  is  strong,  both  in  the 
subjects  shown,  the  clay  and  the  glaze,  and  the  presence 
of  hieroglyphics,  which,  however,  are  without  meaning. 
It  is  probably  of  Phoenician  manufacture;  for  the 
Phoenicians,  as  we  know  from  many  sources,  imitated 
Egyptian  metal  objects  in  a very  similar  way.  They 
were  the  great  traders  of  antiquity,  and  their  commerce 
extended  over  the  known  world.  They  had  no  national 
art,  being  a purely  commercial  people,  and  they  made 
cheap  imitations  of  Egyptian  articles,  as  being  the  most 
in  demand,  which  they  undoubtedly  sold  as  genuine 
things,  and  at  reduced  rates.  The  most  natural  theory  is 
that  this  vase  is  just  such  an  object. 

Furtwangler,  Sitzungsberichter  der  Akademie  zu 
Munchen,  1905,  p.  254,  No.  3. 


ETRUSCAN  AND  ITALIC  OBJECTS  OF  MINOR  ART. 
Case  XXVI. 

This  case  contains  bronze  objects  from  tombs  excavated  at 
various  sites  in  Etruria  for  this  Museum.  The  tomb  group  system  is 
employed  in  this  case,  and  the  groups  and  objects  are  numbered  as 
in  the  other  cases  where  tomb  groups  are  shown. 


1 40 


MEDITERRANEAN  SECTION 


No.  149.  Bronze  objects  from  a tomb  uncovered  at  Narce,  and  dating 
in  the  eighth  century  B.  C.  Numerous  vases  were  found 
in  this  tomb,  which  are  in  Case  XXIX,  under  the  number 
155. 

A.  A clasp  of  bronze  wire. 

B.  Two  bronze  rings,  too  large  to  be  finger  rings,  and  too 

small  to  be  bracelets. 

C.  Two  fibulae. 

D.  A series  of  spiral  ornaments. 

E.  Amber  beads,  and  other  objects  of  amber. 

F.  A fragment  of  iron,  around  which  bronze  wire  has  been 

wrapped.  Perhaps  this  was  a sword  hilt. 

G.  Miscellaneous  bronze  fragments. 

No.  150.  Bronze  objects  from  a tomb  in  Ascoli  Piceno,  the  ancient 
Asculum.  No  pottery  is  associated  with  these  things. 
The  principal  find  in  this  tomb  was  a fine  Corinthian 
helmet,  to  be  seen  in  the  West  Room,  Case  VIII,  No.  1. 

See  S.  B.  L(uce),  Museum  Journal,  XI,  1920,  pp. 
72-74. 

A.  A, A, A.  Four  bronze  torques,  or  spring  necklaces,  within 

each  of  which  is  a spiral  bracelet  of  bronze. 

B. B.  Two  groups  of  bronze  rings,  numbering  eighteen  in 

all. 

C. C.  Two  groups  of  bronze  bracelets. 

D.  A large  seven  pronged  hook,  labeled  a bronze  flesh 

hook  for  burnt  offerings.  This  is  as  close  as  we 
can  get  to  a satisfactory  explanation  of  the  purpose 
of  these  implements.  They  were  also  used  in  cooking 
to  take  boiled  meat  out  of  the  cauldron. 

E. E.  Two  bronze  objects  in  the  form  of  the  foreparts  and 

heads  of  bulls,  set  back  to  back.  The  horns  of  the 
modern  cattle  on  the  Roman  Campagna,  and  in 
Etruria,  have  the  same  sweep. 

F.  A series  of  fibulae,  or  brooches,  of  unusual  size  and 

strength. 

G.  Two  clay  spindle  whorls,  and  a few  glass  beads. 

H.  A series  of  six  pendants,  in  the  form  of  spear  heads. 

I.  A necklace  of  glass  beads. 

J.  A set  of  nine  bronze  pendants. 


141 


THE  UNIVERSITY  MUSEUM 


K.  A group  of  six  bullae.  Their  small  size  points  to  their 

probably  being  worn  by  children,  or  perhaps  women. 

L.  A large  collection  of  small  bronze  bars,  with  a loop  at 

each  end. 

M.  A large  fibula,  the  arch  of  which  is  sheathed  in  a large 

lump  of  amber. 

N.  An  ornament  of  bronze,  in  a very  damaged  condition. 

O.  Miscellaneous  bronze  objects. 

P.  A bronze  spear  head. 

No.  151.  Bronze  objects  from  a tomb  at  Narce.  The  vases  in  Case 
XXIII,  under  the  numbers  105-108  seem  to  belong  with 
these  specimens. 

A.  Three  bracelets. 

B.  Two  bullae. 

C.  A bronze  razor,  in  good  preservation. 

D.  A long  chain  of  bronze,  like  No.  1 1 1 G. 

E.  Five  clay  spindle  whorls. 

F.  A group  of  bronze  rings  and  spirals. 

G.  A fan  of  Etruscan  make,  that  has  been  broken.  The 

blade,  which  was  riveted  to  the  handle,  was  beaten 
out  very  thin,  and  is  flexible,  so  that  a good  breeze 
could  be  made  by  it. 

H.  Two  bronze  hairpins. 

I.  A set  of  six  bronze  pendants. 

J.  A bronze  ferule,  and  fragments  of  three  others. 

K.  Three  pendants  like  those  in  Case  XIX,  No.  57  F; 

Case  XIX,  No.  60  D;  and  Case  XXIV,  No.  1 14  C. 

L.  A curiously  ornamented  bronze  fibula. 

M.  Three  large  bronze  fibulae,  two  of  which  are  sheathed  in 

glass. 

N.  Miscellaneous  bronze  ornaments,  and  amber  beads. 

O.  A large  collection  of  bronze  fibulae. 

No.  152.  Objects  from  a tomb  excavated  at  Narce.  For  pottery,  see 
Case  XXIII,  No.  110. 

A.  Two  spirals  of  bronze. 

B.  A large  group  of  bronze  spiral  ornaments,  probably 

used  as  weights  for  drapery.  Others  of  the  same 
kind  will  be  found  in  this  case,  under  No.  149  D,  and 
also  in  the  following  places:  Case  XIX,  No.  60  F; 
and  Case  XXIV,  Nos.  1 12  D.J ; 113  D ; and  1 15  C. 


142 


MEDITERRANEAN  SECTION 


C.  A bronze  bracelet. 

D.  A small  bulla. 

E.  Two  rings. 

F.  Miscellaneous  ornaments. 

No.  153.  Bronze  objects  from  a tomb  at  Narce.  The  pottery  in 
Case  XXIII,  numbered  83-94,  probably  belongs  with  this 
tomb  group. 

A.  Two  large  bronze  handles. 

B.  A series  of  bronze  bracelets. 

C.  A bronze  hook. 

D.  A ring. 

E.  A flat  bronze  disc  with  a hole  in  the  centre. 

F.  A lump  of  metal. 

Cases  XXVII  and  XXVIII  will  be  discussed  separately  under 
the  heading,  “Greek  and  Italic  Terracotta  Figurines.” 


EARLY  ETRUSCAN  AND  ITALIC  POTTERY. 

Case  XXIX. 

The  vases  here  shown  are  principally  from  tombs  in  Vulci  and 
Narce,  with  isolated  specimens  from  other  sites,  notably  Chiusi,  the 
ancient  Clusium.  In  most  cases  the  tomb  group  system  of  number- 
ing is  employed. 

This  pottery  is  early — indeed,  it  averages  earlier  than  any  other 
Etruscan  case  except  possibly  Case  XVIII— and  this  is  shown  by  the 
crude  and  often  unpleasing  forms  of  the  vases,  the  larger  part  of  which 
are  hand  made.  The  hut  urn  (No.  161)  is  the  most  important  object 
in  the  case. 

No.  154.  Group  of  vases  from  a tomb  at  Vulci,  dating  in  the  eighth 
century  B.  C.  No  bronze  objects  are  associated  with 
this  tomb  group,  but  see  No.  162  in  this  case. 

A.  A small  urn  of  red  ware  on  a foot,  undecorated. 

B.  A onehandled  vase  of  a shape  often  used  as  a cover  to  an 

urn. 

C.  The  same,  but  smaller. 

D.  A large  pot  of  impasto  ware,  with  one  handle. 

E.  A pot  of  red  ware,  without  handles,  undecorated. 


143 


THE  UNIVERSITY  MUSEUM 


F.  Group  of  three  small  impasto  vases,  and  a larger  vase 

of  the  shape  of  the  urn  cover. 

G.  Group  of  two  impasto  vases,  one  of  them  a small  and 

rather  graceful  kyathos. 

H.  An  urn  cover  of  impasto  ware,  within  which  are  two 

small  one  handled  pots  of  the  same  type. 

I.  A collection  of  seven  clay  reels. 

No.  155.  Group  of  vases  from  a tomb  at  Narce,  about  a century 
later,  or  in  the  early  seventh  century  B.  C.  For  bronze 
objects  from  this  tomb,  see  Case  XXVI,  No.  149.  See 
also  No.  163  in  this  case. 

A.  A small  twohandled  pot  of  impasto  ware,  with  incised 

decoration. 

B.  A onehandled  cup,  of  early  bucchero  ware,  undeco- 

rated. 

C.  A small  kantharos  of  early  bucchero  ware,  or  late 

impasto,  with  ribbed  decoration.  One  handle  has 
been  broken  off. 

D.  A chalice  of  the  same  ware. 

E.  A small  amphora  of  early  bucchero  ware,  with  incised 

designs. 

F.  A small  kantharos  of  the  same,  undecorated. 

G.  A cup  like  B,  with  the  handle  broken  off. 

H.  A small  bowl  of  the  same  ware,  without  handles,  and 

undecorated. 

I.  Two  trays  of  Italic  geometric  ware,  with  designs  in  red 

on  buff  clay. 

J.  A small  vase  support  of  the  same  ware. 

K.  A vase  in  the  form  of  a bucket,  of  the  same  technique. 
No.  156.  Pottery  from  a tomb  in  Vulci.  That  this  tomb  was  of  a 

man,  and  a warrior,  is  proven  by  the  girdles  and  spears 
shown  in  Case  XXV,  under  the  number  125,  which  were 
found  with  these  vases.  The  date  of  these  objects  is 
early  in  the  seventh  century  B.  C.,  and  most  of  the 
pottery  is  very  rude  and  coarse. 

A.  Urn  of  greyish  ware,  undecorated,  and  without  a cover. 

B.  Uni  on  a foot,  of  red  ware,  undecorated,  and  with  two 

handles. 

C.  Vase  of  the  same  shape  as  B,  of  black  ware. 

D.  An  Italic  geometric  skyphos. 


144 


MEDITERRANEAN  SECTION 


E.  A small  impasto  kyathos. 

F.  A shallow  dish  of  huff  clay,  decorated  with  circular 

designs  in  brown. 

G.  A low,  broad  amphora  of  impasto  ware,  with  two 

handles,  within  which  is  another  pot  of  the  same 
ware. 

H.  Part  of  a cup  of  red  ware,  broken. 

I.  A small  amphora  of  impasto  ware,  with  twisted  handles. 

J.  A bowl  on  a foot,  of  buff  ware,  undecorated. 

K.  A small  cup  of  impasto  ware,  without  handles  and 

undecorated. 

L.  A stand  for  a vase,  broken. 

M.  An  Italic  geometric  skyphos. 

No.  157.  Pottery  from  a tomb  in  Vulci.  For  bronze  objects  found 
with  these  vases,  see  Case  XXIV,  No.  115.  Eighth 
century  B.  C. 

A.  Urn  on  foot,  of  Italic  geometric  ware,  with  designs  of 

red  on  buff. 

B.  Two  undecorated  skyphoi  of  buff  ware. 

C.  Group  of  three  impasto  vases. 

D.  A Villanuova  urn;  although  said  to  come  from  this 

tomb,  the  rest  of  the  pottery  seems  of  a much  later 
period.  This  vase  seems  to  show  the  earliest  type  of 
this  form  of  burial  jar. 

E.  Cover  to  this  urn,  of  black  ware,  with  incised  decoration. 

F.  A onehandled  pot  of  impasto  ware,  with  ribbed 

decoration. 

G.  A small  amphora  of  impasto  ware. 

H.  Two  small  onehandled  impasto  pots. 

I.  A fine  kyathos  of  early  bucchero  ware. 

J.  Group  of  two  small  impasto  pots. 

K.  Three  small  vases  of  the  same  ware. 

No.  158.  Pottery  from  an  early  tomb  at  Narce.  With  these  objects 
was  found  the  large  and  very  remarkable  collection  of 
bronze  ornaments  in  Case  XXIV,  under  the  number  1 14. 
This  was  a double  tomb,  as  is  proved  by  the  presence  of 
two  cinerary  urns,  each  containing  bones.  We  also  know 
the  two  persons  to  have  been  a man  and  his  wife,  from  the 
character  of  the  bronze  objects  found  with  the  urns, 
which  include  such  masculine  things  as  a razor,  and  a 


145 


THE  UNIVERSITY  MUSEUM 


fragment  of  a sword  blade,  and  such  feminine  things  as  a 
necklace  of  glass  beads,  a number  of  spindle  whorls,  and  a 
series  of  silver  fibulae. 

A.  A large  cinerary  urn,  of  red  ware,  of  the  late  Villanuova 

form,  with  a cover  of  the  same  ware.  It  still  con- 
tains fragments  of  the  bones  of  the  deceased. 

B.  A smaller  urn  of  black  ware,  of  a more  graceful  shape, 

also  with  a cover  of  the  same  ware,  and  also  con- 
taining bones.  This  was  probably  the  cinerary  urn 
of  the  woman,  while  the  larger  urn  contained  the 
remains  of  her  husband. 

C.  Two  small  stands  of  impasto  wrare. 

D.  A bowl  of  the  same  kind  of  pottery. 

E.  A onehandled  cup  of  the  same,  with  incised  decoration. 

No.  159.  A pair  of  late  Villanuova  urns  from  Chiusi,  one  of  brown, 

and  one  of  red  ware.  Each  urn  has  a cover,  and  each  still 
contains  the  bones  of  the  deceased.  They  belong  in  the 
end  of  the  eighth  or  the  beginning  of  the  seventh  century 
B.  C. 

No.  160.  A pair  of  urns  from  Chiusi,  of  slightly  later  date.  Each 
contains  the  bones  of  the  deceased.  They  have  no 
handles,  and  only  one  of  them  has  a cover.  They  are 
made  of  coarse  black  clay. 

No.  161.  An  urn,  in  the  form  of  a hut,  found  at  Albano.  The  ashes 
of  the  dead  w7ere  put  in  through  the  door,  wdiich  wras 
then  made  fast  by  a wrooden  bolt,  that  passed  through 
rings  on  each  side  of  the  door  and  on  the  door  itself.  It 
was  in  urns  of  this  kind  that  the  inhabitants  of  Latium 
deposited  the  ashes  of  their  dead,  building  for  them  a 
house  of  clay,  that  the  spirit  of  the  departed  might  have 
a fitting  residence  in  the  next  world.  And,  in  making  the 
house,  they  imitated  the  kind  of  dwellings  in  which  they 
themselves  lived.  If  Romulus  and  Remus  ever  existed, 
they  doubtless  knew  no  better  residence  than  a cabin 
like  the  kind  represented  by  this  hut  urn. 

Hut  urn  burial,  then,  is  a Latin,  rather  than  an 
Etruscan  form,  and  is  of  great  antiquity,  flourishing  side 
by  side  with  the  Villanuova  period,  in  the  ninth  to  seventh 
centuries  B.  C.  The  potter’s  w7heel  is  unknown  at  this 
time. 


146 


MEDITERRANEAN  SECTION 


No.  162.  A and  B.  A pair  of  Villanuova  urns,  found  in  the  same 
tomb  at  Vulci  as  the  tomb  group  154.  A is  of  black  ware, 
B of  red.  The  covers,  especially  that  of  B.  should  be 
noticed. 

No.  163.  A vase  support  of  red  ware  found  at  Narce  with  the  tomb 
group  155,  and  belonging  in  the  late  seventh  or  early 
sixth  centuries  B.  C.  Resting  on  top  of  the  support  is  a 
vase  of  the  same  ware,  with  ribbed  decoration. 

No.  164.  A vase  carrier,  and  urn,  of  black  ware,  from  Civita  Cas- 
tellana,  the  ancient  Falerii.  On  the  vase  are  crude  incised 
designs  of  horses. 

No.  165.  A.  A Villanuova  urn  of  black  ware,  with  incised  decoration, 
from  Bisenzio,  and  perhaps  belonging  with  the  tomb 
groups  95  in  Case  XXIII,  and  1 1 1 in  Case  XXIV.  It  is 
equipped  with  a cover,  which  also  has  rude  incised 
decorations. 

B.  A Villanuova  urn,  said  to  come  from  Cervetri,  the 
ancient  Caere,  and  decorated  with  incised  designs. 
No.  166.  A bucketshaped  cinerary  urn  of  red  ware,  found  at  Chiusi, 
the  ancient  Clusium,  and  containing  an  almost  perfect 
human  skull,  found  with  it. 

Case  XXX  contains  Etruscan  architectural  ornaments,  which 
will  be  included  with  Case  XXXIV  under  this  heading.  The 
Etruscan  and  Italic  cases  that  still  remain  are  introduced  in  the 
following  order:  Cases  XXXI,  XXXII,  XXXIII,  XXXVII,  XXX, 
and  XXXIV. 


ETRUSCAN  BRONZE  MIRRORS,  AND  OTHER 

ORNAMENTS. 

Case  XXXI. 

The  objects  shown  in  this  case  are  not  connected  with  any  of  the 
tomb  groups  previously  described,  but  are  isolated  specimens  from 
various  parts  of  Etruria.  The  mirrors  are  especially  important. 
One  side  was  highly  polished,  while  on  the  other  there  was  usually 
an  engraved  design,  sometimes  of  considerable  artistic  merit.  These 
mirrors  are  made  with  a tang,  which  fitted  into  a handle  of  wood. 
Another  kind  of  mirror  is  that  which  fitted  into  a case,  decorated 
with  designs  in  high  relief.  There  are  two  of  these  cases  exhibited 


147 


THE  UNIVERSITY  MUSEUM 


here.  The  other  ornaments  in  this  case  do  not  differ  from  those 

which  we  have  seen  in  previous  cases,  except  that  some  of  them  are 

of  greater  merit. 

No.  167.  An  Etruscan  bronze  mirror  with  an  engraved  scene  repre- 
senting the  purification  of  Orestes  at  Delphi.  To  that 
sacred  place,  to  the  oracle  of  Apollo,  Orestes  fled  after  he 
had  murdered  his  mother,  Clvtemnestra,  in  revenge  for 
the  slaying  of  Agamemnon.  Pursued  by  the  avenging 
Furies,  who  were  set  upon  him  by  his  mother’s  ghost, 
he  hastened  to  seek  the  protection  of  Apollo,  by  whom  he 
was  purified  of  his  crime.  This  mirror  shows  the  act 
of  purification. 

Bates,  A.  J.  A.,  XV,  191 1,  72,  459-464. 

No.  168.  A bronze  mirror,  illustrating  the  skill  in  engraving  shown 
by  the  Etruscan  designers.  It  shows  Herakles,  a satyr, 
and  an  Eros,  and  in  the  course  of  ages  has  taken  on  a 
beautiful  patina. 

Bates,  A.  J.  A.,  XVIII,  1914,  p.  75;  ibid.,  XX,  1916, 
391-396. 

No.  169.  A bronze  mirror,  from  Vulci,  formerly  in  the  Robert  H. 

Coleman  Collection.  The  subject  of  this  engraving  has 
been  thought  to  be  an  interview  between  Diana  and 
Endvmion. 

Coleman  sale  cat.,  p.  30,  No.  97. 

No.  170.  A small  bronze  mirror  without  any  decoration. 

No.  171.  A small  bronze  mirror,  with  a design  of  two  male  figures 
rudely  scratched  on  its  surface. 

No.  172.  Three  bronze  weights. 

No.  173.  A bronze  mirror  case,  found  at  Chiusi,  with  designs  in 
high  relief.  On  the  outside  is  a maenad,  with  a thyrsos, 
dancing.  The  back  of  this  cover  was  the  mirror  proper. 
Inside,  is  an  Eros  warming  his  hands  at  a fire.  This 
mirror  case  is  probably  of  Hellenistic  workmanship,  of 
the  third  century  B.  C. 

No.  174.  A bronze  mirror  case,  with  a graceful  group  in  high  relief 
of  a man  and  a woman  with  a child  in  her  arms.  This  is 
also  probably  of  Greek  manufacture,  of  the  third  century 
B.  C.  The  provenance  is  unknown. 

No.  175.  A bowl  with  a remarkable  cover,  probably  intended  for 


14S 


M EDIT E R R A N E A N SECTION 


No.  176. 
No.  177. 

No.  178. 
No.  179. 
No.  180. 
No.  181. 
No.  182. 


No.  183. 

No.  184. 

No.  185. 
No.  186. 
No.  187. 
No.  188. 
No.  189. 
No.  190. 

No.  191. 

No.  192. 

No.  193. 

No.  194. 

No.  195. 
No.  196. 

No.  197. 
No.  198. 
No.  199. 
No.  200. 
No.  201. 
No.  202. 


offerings  to  the  dead.  It  is  Etruscan,  and  the  date  is 
hard  to  determine;  but  it  possibly  belongs  in  the  fifth 
century  B.  C. 

A large  collection  of  bronze  bracelets. 

A very  large  and  representative  collection  of  bronze  fibulae, 
or  brooches,  including  one  of  enormous  size. 

A small  bronze  statuette  of  a dog. 

A crude  image  of  a draped  figure,  with  outstretched  arms. 

A handle  for  the  side  of  a bronze  vase. 

A collection  of  four  vase  handles. 

A handle  base,  from  a bronze  pitcher,  in  the  form  of  a 
bearded  head. 

Part  of  the  handle  of  a bronze  vase,  in  the  form  of  an 
ox  head. 

A handle  base,  from  a bronze  pitcher,  in  the  form  of  a 
female  head. 

A handle  base,  showing  the  eyes  and  nose  of  a human  head. 

A group  of  leaden  sling  stones. 

The  handle  of  a pitcher,  complete. 

A small  image  of  a duck,  in  bronze. 

A group  of  three  bucket  handles. 

A pair  of  feet  for  a cista,  or  toilet  case,  in  the  form  of 
claws. 

A pair  of  feet  for  a cista,  in  the  form  of  griffins’  claws  with 
wings. 

A pair  of  hingeshaped  bronze  ornaments,  of  unknown 
provenance. 

A bronze  ornament,  in  the  form  of  a sheath,  with  two 
daggers. 

A pair  of  Egyptian  bronze  ushabtis,  found  at  Chiusi  in 
Etruria. 

A bronze  ferule. 

A pair  of  bronze  rings  for  ropes,  said  to  have  been  found 
at  Narce. 

Two  bronze  nails. 

Two  pairs  of  bronze  buckles  from  Etruria. 

A bronze  bell. 

A large  bronze  bulla. 

A pair  of  feet  from  a bronze  vase.  Found  at  Chiusi. 

Seven  fragments  of  an  Etruscan  bronze  chair. 


149 


THE  UNIVERSITY  MUSEUM 


ETRUSCAN  SEPULCHRAL  FURNITURE,  AND 
OTHER  BRONZE  OBJECTS. 

Case  XXXII. 

This  case  contains  some  of  the  most  interesting  and  remarkable 
things  in  the  Mediterranean  Section.  There  is  nothing  like  the 
bronze  chair  and  table  in  any  other  museum  in  America,  or  indeed 
outside  of  Italy  itself,  in  all  probability.  The  other  things,  while  not 
so  unusual,  are  of  great  interest  and  beauty. 

No.  203.  A bronze  vase,  which  has  taken  on  a rich  patina  of  the 
usual  green,  mingled  with  an  exquisite  shade  of  pale  blue. 
This  vase,  the  form  of  which  is  very  graceful,  is  Etruscan 
or  Italic.  It  was  found  at  Narce,  and  is  dated  somewhere 
between  900  and  500  B.  C. 

No.  204.  A small  candelabrum  which  seems  also  to  have  come  from 
Narce.  Its  three  feet  are  in  the  form  of  hippocamps,  or 
seahorses,  which  support  a pedestal,  on  which  stands  a 
nude  statuette  of  Aphrodite,  with  a mirror  in  her  left 
hand.  This  supports  the  tall  stem  of  the  candelabrum, 
half  way  up  which  a dog  is  seen  climbing  after  a dove 
which  is  perched  near  the  top.  This  top  is  in  the  form  of 
a round  basin  with  a square  rim,  on  each  corner  of  which 
is  another  dove.  This  interesting  object  probably  belongs 
in  the  fifth  or  fourth  centuries  B.  C.,  with  the  presumption 
strongly  favoring  the  later  date. 

No.  205.  A bronze  chair,  found  at  Chiusi,  the  ancient  Clusium. 

The  legs  are  hollow.  This  chair  is  said  to  have  come 
from  the  tomb  of  a child.  On  the  chair  was  put  the  urn 
(No.  208)  containing  the  ashes  of  the  deceased,  and  in 
front  of  it  was  a table  with  offerings  (No.  207). 

No.  206.  A focolare  of  bronze.  This  is  a kind  of  brazier,  and  is 
considered  by  most  authorities  to  be  a sacrificial  tray  for 
sacred  fire.  It  is  of  early  date,  being  at  least  in  the  sixth 
century  B.  C.,  and,  like  the  chair,  comes  from  Chiusi, 
but  not  from  the  same  tomb.  With  it  were  found  the 
four  small  bronze  vases  that  are  in  it  at  present. 

No.  207.  A table,  of  bronze,  from  the  same  sepulchre  as  the  chair 
just  described.  It  had  been  placed  in  antiquity  in  front 
of  the  chair,  and  covered  with  offerings  of  food  for  the 


150 


MEDITERRANEAN  SECTION 


use  of  the  deceased.  When  found,  some  of  these  offerings 
were  still  on  it. 

No.  208.  A large  bronze  urn  from  the  same  tomb  as  the  chair  and 
table.  This  urn  originally  rested  on  the  chair,  and  con- 
tained the  ashes  of  the  deceased.  The  date  assigned  to 
this  very  remarkable  collection  of  sepulchral  furniture 
is  about  the  fifth  century  B.  C.,  or  somewhat  earlier. 


BRONZE  AND  IVORY  UTENSILS  FROM  ETRURIA. 
Case  XXXIII. 

These  objects  are  from  various  sites  in  the  land  of  the  Etruscans, 
and  some  of  them  date  in  the  Roman  period.  As  they  are  isolated 
specimens,  the  tomb  group  system  cannot  here  be  employed. 

No.  209.  A pair  of  flesh  hooks,  similar  to  the  example  D in  the 
tomb  group  150,  in  Case  XXVI. 

No.  210.  A bronze  ring.  From  the  fragment  of  an  Attic  black- 
figured  hydria,  or  water  jar,  that  is  shown  inside  it,  one 
would  suppose  that  it  was  some  sort  of  a musical  instru- 
ment, as  it  is  represented  on  the  vase  fragment  in  con- 
nection with  a lyre.  Experiments  have  proved,  however, 
that  it  cannot  be  a musical  instrument,  as  it  gives  out  no 
sound.  It  has  been  recently  suggested  that  rings  of  this 
sort  were  attached  to  a pole  which  ran  along  the  room 
where  the  oil  from  the  olives  was  pressed  out,  and  were 
held  by  the  workmen  to  keep  them  from  losing  their 
balance;  but  this  theory  has  disadvantages,  and  the 
purpose  of  these  rings  is  still  uncertain. 

McDaniel,  A.  J.  A.,  XXII,  1918,  pp.  295-303. 

No.  211.  A group  of  three  bronze  hooklike  objects.  These  are 
strigils,  or  scrapers,  and  were  used  in  the  bath,  and  by 
athletes  after  exercising,  to  scrape  the  perspiration  and 
dirt  from  their  bodies.  A famous  statue  in  the  Vatican, 
known  to  be  a copy  of  a work  of  the  fourth  century 
(B.  C.)  sculptor  Lysippus,  is  of  an  athlete  scraping  himself 
with  one  of  these  implements. 

No.  212.  Another  strigil,  but  of  clay,  with  a piece  of  iron  stuck  to  the 
handle. 


I. 5 I 


THE  UNIVERSITY  MUSEUM 


No.  213. 
No.  214. 


No.  215. 
No.  216. 
No.  217. 
No.  218. 
No.  219. 

No.  220. 

No.  221. 


No.  222. 


No.  223. 
No.  224. 
No.  225. 
No.  226. 
No.  227. 


Four  bronze  razors. 

A bronze  object,  the  use  of  which  is  unknown.  Objects 
of  this  sort  have  sometimes  been  considered  to  be  bow 
pullers,  but  this  is  not  likely.  It  has  been  recently 
suggested  that  they  are  amulets,  which  were  attached  to 
the  harness  of  horses. 

D.  G.  Brinton,  Bulletin  of  Free  Museum  of  Science 
and  Art,  I,  1897,  pp.  10-15,  Figs.  4,  5,  and  pp.  70-71. 
McDaniel,  A.  J.  A.,  XXII,  1918,  pp.  25-43  and  Fig.  4. 

Two  bronze  rings  with  spiked  exteriors. 

A bronze  spoon. 

A bronze  strainer. 

A small  brcnze  ladle. 

A group  of  bronze  needles  and  probes,  possibly  used  in 
surgical  operations. 

A group  of  ivory  instruments.  Most  of  them  are  st.yli, 
used  by  the  ancients  for  writing. 

A group  of  four  bronze  articles,  resembling  each  other,  and 
shaped  somewhat  like  horseshoes,  but  toothed,  and  with 
a large  hole  in  the  centre.  With  them  are  to  be  seen  a 
number  of  horses’  teeth,  and  some  bone  fragments,  found 
in  the  same  tomb,  together  with  some  iron.  Iron  is  also 
found  in  the  large  central  holes  in  three  of  the  four  bronze 
objects.  They  were  found  at  Corneto-Tarquinia.  It  has 
been  shown  conclusively  that  these  objects  belong  in 
pairs,  and  that  they  are  the  cheek  pieces  of  a pair  of  bits. 

A.  J.  A.,  VI,  1902,  53-54.  Bates,  ibid.,  398-403,  pi. 
XIV.  Hall,  A.  J.  A.,  XIX,  1915,  p.  77.  E.  H.  H(all), 
Museum  Journal,  V,  1914,  pp.  213-217  and  Figs.  102-104. 

A bronze  bit  of  the  Etruscan  or  Roman  period,  showing  the 
difference  between  it  and  No.  221. 

E.  H.  H(all),  Museum  Journal.  V,  1914,  pp.  216-17, 
Fig.  107 

Two  bronze  pins. 

Two  fragments  of  an  ivory  comb. 

A collection  of  seven  small  bronze  arrow  heads. 

Five  miniature  pitchers  of  bronze. 

A piece  of  bucchero  pottery  with  an  Etruscan  inscrip- 
tion on  each  side  of  it.  The  inscription  read 

m Aunjmym  si  a©  and  v x a . 


152 


MKDIT E R R A N E AN  SEC'TIO N 


Bates,  Transactions,  Dept,  of  Archaeology,  University 
of  Pennsylvania,  I,  1905,  pp.  167-68,  No.  10,  Figs.  10,  11, 
and  pi.  XXII,  1. 

No.  228.  A fragment  of  wood  with  a Latin  inscription  of  the  emperor 
Antoninus  Pius,  and,  on  the  other  side  the  words,  “Vota 
sacra.” 

No.  229.  A bronze  stamp  of  the  Roman  period,  with  a Latin  inscrip- 
tion. 

No.  230.  Three  bronze  spits. 

No.  231.  A bronze  article,  possibly  a key. 

No.  232.  Two  fine  bronze  spearheads. 

No.  233.  A bronze  rod,  possibly  a ruler,  surmounted  by  a male  bust. 

No.  234.  A pair  of  Etruscan  andirons.  The  knobs  at  the  ends  were 
the  feet  on  which  they  rested.  Upon  them  were  placed 
the  logs  after  the  manner  of  modern  andirons. 


ARCHAIC  ETRUSCAN  VASES  AND  VASE  SUPPORTS, 
CHIEFLY  FROM  NARCE. 

Case  XXXVI. 

This  is  a series  of  early  Etruscan  vases  and  carriers.  Stands  like 
these  are  shown  also  in  Cases  XVIII,  XXII,  and  XXIX,  while  one 
of  bronze  is  exhibited  in  Case  XX.  It  is  not  known  definitely  for 
what  purpose  these  vases  and  supports  were  intended,  but  they  are 
pretty  surely  not  burial  urns.  Stands  of  this  kind  were  first  found  at 
Cervetri  (the  ancient  Caere),  in  a tomb  called  the  Grotta  Campana. 
George  Dennis,  in  his  Cities  and  Cemeteries  of  Etruria  calls  them 
fumigators  or  incense-burners,  but  he  is  surely  wrong.  The 
imitation  of  metal  technique  in  these  supports  is  obvious.  It  is  clear 
that,  although  they  may  not  have  been  urns  for  the  ashes  of  the 
departed,  they  were  nevertheless  funeral  objects,  being  always  found 
in  tombs,  and  they  had  some  special  significance  among  Etruscan 
sepulchral  furniture.  It  is  also  true  that  they  seem  to  be  of  a certain 
period  only,  and  that  they  disappear  after  that  period.  This  epoch 
can  be  roughly  dated  as  between  650  and  600  B.  C.,  although  some 
may  be  found  in  tcmbs  slightly  antedating  this  period. 

No.  235.  A tall  vase  support  from  Narce,  holding  a vase  of  ribbed 
decoration.  The  pottery  is  of  red  ware.  A curious 
feature  of  the  support  is  that  the  top  is  held  up  by  human 


153 


THE  UNIVERSITY  MUSEUM 


figures  at  the  sides.  The  other  decoration  consists  of 
rosettes  and  chevrons  cut  in  the  sides  of  the  stand. 

No.  236.  Vase  and  support  of  plain  red  ribbed  ware,  found  at  Narce. 

No.  237.  Urn  of  a very  rare  form,  which  seems  to  be  peculiar  to  the 
city  of  Chiusi.  This  specimen,  which,  unfortunately,  is 
much  broken,  was  obtained  by  the  Museum  from  the 
Robert  H.  Coleman  Collection,  in  1897.  It  is  called  a 
canopus  and  on  the  cover  is  a crude  erect  figure,  per- 
haps a likeness  of  the  deceased.  Both  the  lid  and  the 
shoulder  of  the  urn  are  surrounded  by  small  draped 
figures,  alternating  with  dragon  heads,  and  hung  on  small 
pegs  of  terracotta.  It  seems  to  date  in  the  seventh 
century  B.  C. 

Coleman  sale  cat.,  243,  and  frontispiece. 

No.  238.  A small  vase  support,  holding  an  open  vase.  Both  are 
decorated  with  geometric  designs  of  white  on  a red  ground. 
The  support  has  human  figures  holding  up  the  top. 

No.  239.  This  is  the  most  important  of  these  vases  and  supports. 

Like  the  others,  it  was  found  at  Narce.  Standing  nearly  a 
metre  high,  and  elaborately  ornamented  with  perfora- 
tions and  knobs,  it  must  be  considered  one  of  the  most 
important  specimens  of  its  class  outside  of  Italy. 

No.  240.  A small  vase  support  of  creamy  clay,  with  geometric 
designs  in  red,  holding  a small  vase  of  plain  red  ware. 

No.  241.  A canopus  from  Chiusi,  in  better  condition  than  the 
one  previously  described  (No.  237).  The  decoration  is 
practically  the  same,  and  it  is  a finer  specimen  in  every 
way. 

No.  242.  A tall  vase  support  of  cream  colored  ware,  with  geometric 
designs  in  red.  It  holds  a plain  urn  of  red  ware. 

No.  243.  A tall  vase  support  of  red  ware,  decorated  with  perforations 
and  knobs  similar  to  No.  239.  It  contains  an  urn  of  red 
ribbed  ware. 


AN  ETRUSCAN  SARCOPHAGUS. 

No.  244.  This  is  a burial  urn  of  a local  stone  of  Etruria,  called  tufa, 
a soft  and  easily  worked  material.  Its  heavy,  ugly  con- 
struction, and  characteristic  Villanuova  lid,  betray  its 
earlv  date,  which  may  well  be  in  the  ninth  or  eighth 


154 


M EDIT E RR A N E A N SECTION 


century  B.  C.  It  is  practically  unique  of  its  kind  in 
America,  or,  for  that  matter,  in  any  museum  outside  of 
Italy.  Its  place  of  discovery  is  not  surely  known,  but 
may  well  have  been  Narce. 


ETRUSCAN  ARCHITECTURAL  TERRACOTTA 

ORNAMENTS. 

Case  XXX. 

This  case  and  Case  XXXIV  are  devoted  to  a series  of  archi- 
tectural ornaments  from  Etruscan  temples,  principally  from  Cervetri 
(the  ancient  Caere),  Corneto-Tarquinia  (the  ancient  Tarquinii)  and 
Orvieto.  They  are  chiefly  antefixes,  although  the  collection  also 
includes  revetments,  and  fragments  from  other  parts  of  buildings. 
Scholars  have  often  endeavored  to  identify  the  heads  in  these  ante- 
fixes  with  those  of  the  various  Etruscan  divinities;  and  sometimes  it 
seems  probable  that  they  were  supposed  to  be  portraits  of  gods  and 
goddesses;  but  in  the  case  of  these  in  this  collection,  it  would  appear 
more  natural  to  consider  them  purely  decorative. 

In  this  case  will  be  found  the  earliest  of  the  series  of  antefixes, 
and  some  of  the  very  late  pieces. 

The  series  of  archaic  antefixes  from  Cervetri  are  published  by 
Luce.  A.  J.  A.,  XXII,  1918,  p.  65,  and  XXIV,  1920,  pp.  27-36.  See 
also  Furtwangler,  Sitzungsberichte  der  Akademie  zu  Munchen,  1905, 
p 255.  No.  5 

No.  245  A,B.  Two  of  the  earliest  antefixes,  dating  probably  in  the 
seventh  or  early  sixth  century  B.  C.  They  end  in  female 
heads,  in  which  the  influence  of  Egypt  is  very  strong. 
They  come  from  Cervetri. 

Height,  245  A,  12.8  cm.;  245  B.  15  cm.;  width, 
245  A,  10.5  cm.;  245  B,  13.6  cm.  Coarse  reddish  clay. 
Luce,  lcc.  cit.,  pp.  29,  30,  Figs.  1,  2. 

No.  246.  An  antefix,  ending  in  a female  head,  from  Cervetri,  of  a 
little  later  period.  Early  sixth  century  B.  C. 

Luce,  lcc.  cit.,  pp.  31-32,  Fig.  4.  Height,  15.5  cm.; 
width,  11.2  cm.  Clay,  red. 

No.  247.  An  antefix  from  Cervetri,  of  the  sixth  century  B.  C.  Note 
the  method  of  treatment  of  the  hair. 


155 


THE  UNIVERSITY  MUSEUM 


Luce,  loc.  cit.,  pp.  32-33,  Figs.  5,  6.  Height,  18 
cm.;  width,  16.1  cm.  Clay  red.  buff  slip,  traces  of  black 
for  hair. 

No.  248A.  Archaic  Etruscan  antefix  (sixth  century  B.  C.)  in  the 
form  of  a female  head  wearing  a diadem  and  earrings. 
Note  the  use  of  color  in  rendering  the  hair  and  features. 

Luce,  loc.  cit.,  pp.  33-35,  Figs.  7,  8.  Height,  24.2 
cm.;  width.  14.6  cm. 

No.  248B.  Archaic  head,  similar  to  248A,  and  of  the  same  period, 
showing  more  plainly  the  free  use  of  colors  in  these  archi- 
tectural members.  Both  of  these  specimens  are  from 
Cervetri. 

Luce,  loc.  cit.,  pp.  33-35.  Height,  26.9  cm.;  width, 
16.2  cm. 

No.  249.  An  antefix,  in  the  form  of  the  head  of  a bearded  satyr, 
from  Corneto.  Around  the  head  is  a small  shell  or  canopy, 
with  a floral  decoration.  It  originally  was  colored  with 
details  in  red,  white,  and  black;  but  only  the  slightest 
traces  of  color  exist  today.  The  clay  is  coarse,  and  buff 
in  color,  no  slip  being  employed.  The  style  of  the 
antefix  is  archaistic,  and  should  date  in  the  third  century 
B.  C.,  if  not  later. 

No.  250.  Fragment  of  an  antefix.  of  unknown  provenance,  in  the 
form  of  a female  head  and  neck.  This  antefix  is  archaic 
in  type,  and  belongs  in  the  sixth  century  B.  C.  The  hair 
is  dressed  in  long  corkscrew  curls  along  the  sides,  and 
in  a bang  in  front,  rendered  by  short,  deep  incisions.  The 
color  of  the  clay  is  buff,  with  a thin  slip  of  the  same  color. 
At  the  neck  is  a band  of  red.  Height.  21.2  cm.;  width, 

15.5  cm. 

No.  251.  Fragmentary  shell  antefix  from  Cervetri.  of  the  type  in 
Case  XXXIV,  No.  261 A and  261 B.  Preserved  height, 

26.5  cm.:  width,  25.9  cm. 

No.  252  A,B,C.  Three  fragmentary  shell  antefixes  from  Corneto.  all 
made  in  the  same  mould,  and  in  the  same  mould  also  with 
the  more  complete  specimens  264A  and  264B  in  Case 
XXXIV.  These  are  of  a later  period  than  the  ones 
already  discussed,  belonging  in  the  fourth  century  B.  C. 

No.  252  D.  A head  from  an  Etruscan  shell  antefix  said  to  have  been 


1.S6 


MEDITERRANEAN  SECTION 


found  at  Corneto,  very  similar  to  the  three  just  described, 
but  differing  in  a few  minor  details. 

No.  253  A,B,C.  Three  fragmentary  shell  antefixes  from  Corneto,  of 
the  same  period  and  from  the  same  temple  as  252  A, 
B,  and  C,  but  with  male  heads  instead  of  female.  These 
heads  are  idealized,  and  are  human,  not  the  heads  of 
satyrs,  as  is  usually  the  case  in  the  shell  antefixes. 

No.  254.  A slab  of  a small  revetment  from  Tarentum,  representing  a 
warrior  with  his  horse,  a common  subject  on  the  late 
South  Italian  vases.  It  belongs  in  the  third  century 
B.  C..  or  even  later.  Height,  24.5  cm.;  width,  19.8  cm. 

No.  255.  An  antefix,  said  to  have  come  from  Cervetri,  but  apparently 
not  of  Etruscan  workmanship.  It  belongs  probably  in 
the  second,  or  even  the  first  century  B.  C.  It  is  unques- 
tionably of  Roman  technique,  and  was  one  of  a series, 
all  of  which  had  the  same  design.  Mars  is  seated  at  the 
right,  and  leans  against  Venus,  who  is  at  the  left.  The 
specimen  may  be  made  of  parts  of  two  antefixes,  as  some 
of  the  fragments  of  which  it  is  composed  seem  to  be  of 
different  clay  from  the  others.  There  is  much  restora- 
tion, which  is  probably  correct. 

Height,  36.6  cm.;  width,  23.3  cm. 

No.  256.  An  antefix  of  late  date,  showing  the  device  of  a trophy  on  a 
rostrum.  The  provenance  is  unknown,  but  it  is  of  Roman 
work,  about  the  first  century  B.  C. 

Height,  22.1  cm.;  width,  17.7  cm. 

No.  257.  An  Etruscan  water  spout,  in  the  form  of  a lion’s  head,  of 
unknown  provenance.  There  are  no  traces  of  color. 

No.  258.  A large  Etruscan  terracotta  statuette,  of  a seated  woman. 

The  head  has  been  broken  off  and  mended.  She  is 
wrapped  in  heavy  draperies,  which  were  originally  deco- 
rated in  colors.  In  her  right  hand  she  holds  a cup. 
This  interesting  specimen  is  about  50  cm.  high,  and  the 
width  from  shoulder  to  shoulder  is  24.8  cm. 

No.  259.  Etruscan  torso  of  a boy  in  terracotta.  The  head  has  been 
much  restored,  and  does  not  belong  with  the  body. 
Sen  e of  the  flesh  paint  is  still  preserved;  for  the  Etrus- 
cans, like  the  Minoans,  used  red  for  the  flesh  of  men,  and 
white  for  that  of  women.  The  muscles  of  the  breast  are 
fully  developed,  as  is  usual  in  the  archaic  sculpture  of  all 


157 


THE  UNIVERSITY  MUSEUM 


peoples.  As  in  real  life,  he  wears  a bulla  around  his 
neck.  This  object  is  of  the  archaic  period  in  Etruria, 
about  the  sixth  century  B.  C. 

Height  without  head,  23.7  cm.;  width  from  shoulder 
to  shoulder,  23.4  cm. 

No.  260.  A large  piece  of  late  Etruscan  or  Roman  sculpture  in  terra- 
cotta, in  the  form  of  a man’s  head  of  nearly  life  size,  the 
right  arm  raised  over  it.  The  features  bear  a resemblance 
to  one  of  the  early  Emperors,  and  it  may  well  belong  in 
the  early  Imperial  period,  in  which  case  it  can  be  dated 
between  the  end  of  the  first  century  B.  C.,  and  the  begin- 
ning of  the  second  century  A.  D.  It  is  said  to  have  been 
found  at  Corneto,  and  may  be  a pediment,  or  tympanum, 
sculpture. 

Case  XXXIV. 

This  case  is  given  over  for  the  most  part  to  antefixes  and  revet- 
ments, coming  from  Cervetri,  Corneto,  and  Orvieto.  In  many 
respects  the  objects  here  exhibited  constitute  the  cream  of  the  col- 
lection of  architectural  terracottas,  and  cannot  be  equaled  in  any 
other  American  museum,  and  by  only  a few  European  museums 
outside  of  Italy  itself. 

The  revetments  here  exhibited  have  been  described  and  pub- 
lished by  Luce  and  Holland,  A.  J.  A.,  XXII,  1918,  pp.  319-339,  pis. 
VIII,  IX.  See  also  E.  D.  Van  Burean,  ibid.,  XXIII.  1919,  pp.  1 57 — 
1 60,  and  Luce,  ibid.,  pp.  161,  162.  The  large  antefixes  261 A and  B 
and  262A  and  B are  published  by  Luce,  A.  J.  A.,  XXIV,  1920,  pp. 
252-369,  Figs.  6-10. 

No.  261  A.  An  Etruscan  shell  antefix,  from  Cervetri,  with  a woman’s 
head  in  the  centre.  This  head  is  crowned  with  a diadem, 
and  in  the  ears  are  large  earrings  in  the  form  of  bunches 
of  grapes.  A similar  earring  will  be  found  in  the  West 
room,  Alcove  D,  Case  VI,  No.  5.  Around  the  head  is  a 
shell,  or  canopy,  ornamented  with  a design  of  palmettes 
and  lotuses.  The  antefix  has  been  mended  from  a 
number  of  fragments,  and  parts  have  been  restored. 
Red,  white,  black,  and  yellow  are  employed  for  details. 

Height  46.8  cm. ; width,  (estimated)  49.6  cm.  Luce, 
lcc.  cit.,  p.  362,  Figs.  7 and  9. 


158 


MEDITERRANEAN  SECTION 


No.  261  B.  A shell  antefix,  made  in  the  same  mould  as  No.  261  A, 
but  with  a somewhat  different  scheme  of  polychrom 
decoration.  A unique  specimen,  in  splendid  preservation 
and  also  from  Cervetri. 

Height,  47.8  cm.;  width  49  cm.  Luce,  loc.  cit . , p. 
368,  Fig.  10. 

No.  262  A,B.  A pair  of  antefixes  similar  to  No.  261  A and  B,  but  add- 
ing blue  to  the  colors  employed.  The  heads,  instead  of 
being  female,  are  grotesque  heads  of  satyrs,  bearded,  and 
crowned  with  ivy  leaves.  They  are  also  from  Cervetri, 
and  were  probably  from  the  same  temple  as  the  others. 
They  belong  in  the  fourth  century  B.  C. 

Height  of  262A,  47.7  cm.;  width,  46.7  cm.;  height 
of  262B,  47.2  cm.;  width,  49.3  cm.  262A  is  published 
by  Luce,  loc.  cit.,  p.  358,  Fig.  6. 

No.  263.  A smaller  shell  antefix  from  Cervetri,  with  the  head  of  a 
woman  in  the  centre,  and  on  the  canopy  a tendril  decora- 
tion. This  is  to  be  placed  in  the  third  century  B.  C. 

No.  264  A,B.  A pair  of  shell  antefixes  from  Corneto-Tarquinia,  of  a 
later  period.  These  antefixes  were  made  in  the  same 
mould  as  the  three  examples  252  A-C,  and  were  from  the 
same  temple.  They  belong  in  the  third  or  second  century 
B.  C. 

No.  265.  A slab  of  revetment  from  Cervetri,  belonging  probably  to 
the  same  building  as  the  antefixes  in  this  case.  It  has 
an  elaborate  and  mannered  design  of  palmettes  and  lotus 
flowers.  Although  it  has  been  broken  in  many  places,  it 
has  nevertheless  been  skilfully  mended.  It  is  pierced 
with  seven  holes,  through  which  went  the  nails  or  bolts 
that  held  it  to  the  back  of  the  temple.  The  painted 
decoration  is  very  well  preserved.  It  is  dated  in  the 
third  century  B.  C. 

Length,  48.2  cm.;  height,  65.2  cm.  Luce  and 
Holland,  loc.  cit.,  pp.  329-332,  Fig.  6,  No.  2. 

No.  266.  A gargoyle  in  the  form  of  a lion’s  head,  said  to  have  come 
from  the  Temple  of  Fortune  at  Praeneste.  The  modern 
town  of  Palestrina  now  occupies  the  site  of  this  temple, 
which  was  said  to  be  the  greatest  in  all  Italy,  and  which 
seems  to  have  been  built  in  terraces.  Although  not 
strictly  in  Etruria,  Praeneste  was  in  many  respects  an 


159 


THE  UNIVERSITY  MUSEUM 


Etruscan  city,  and  this  temple  may  have  had  many 
features  of  the  Etruscan  temple  design. 

Museum  Journal,  I,  1910,  p.  1 (cover  design). 

No.  267.  A mould,  probably  for  a gargoyle  like  266.  A cast  taken 
from  this  mold  is  exhibited  with  it.  The  method  of 
manufacture  was  to  make  the  two  halves  separately, 
and  join  them  together  while  they  were  still  moist  and 
adhesive.  The  result  is  that  moulds  were  made  for  only 
half  of  an  architectural  member. 

Nos.  268  to  274  are  fragments  of  revetments,  mostly  from  Orvieto, 
of  the  fourth  century  B.  C.,  and  later. 

No.  268.  Two  fragments  from  an  early  revetment,  with  designs  of 
palmettes  and  lotuses.  Polychrome  decoration  is  most 
successfully  employed. 

Luce  and  Holland,  loc.  cit.,  p.  323,  No.  4,  and  Fig. 
3,  No.  1. 

No.  269.  Three  fragments  from  a revetment  of  a somewhat  later 
date,  showing  a crowning  piece  of  tongue  pattern,  sepa- 
rated from  a palmette  lotus  design  by  a barber’s  pole 
ornament. 

Luce  and  Holland,  loc.  cit.,  p.  323,  No.  3 and  PI. 
VIII.  No.  3. 

No.  270.  Two  fragments,  probably  from  the  same  revetment,  show- 
ing a design  of  palmettes,  and  a guilloche. 

Luce  and  Holland,  loc.  cit.,  p.  325,  No.  6,  and  Fig. 
3,  No.  3. 

No.  271 . Two  fragments  of  revetment  that  probably  belong  together, 
consisting  of  a palmette  lotus  design  and  a guilloche  on 
one  piece,  and  a tongue  pattern  on  the  other. 

Luce  and  Holland,  loc.  cit.,  pp.  321-322,  No.  2,  and 
PI.  VIII,  No.  2. 

No.  272.  Two  fragments  of  a slab  of  an  early  period,  showing  tongue 
pattern,  palmette  lotus,  and  ivy  leaf  designs  in  brilliant 
polychromy.  These  two  pieces  fit  each  other. 

Luce  and  Holland,  loc.  cit.,  p.  321,  No.  1,  and  PI. 
VIII,  No.  1. 

No.  273.  A piece  of  revetment,  unpainted,  with  a design  of  palmettes, 
made  up  of  two  fragments,  which  join  together  perfectly. 

Luce  and  Holland,  loc.  cit.,  pp.  323-25,  No.  5,  and 
Fig.  3,  No.  2. 


160 


MEDITERRANEAN  SECTION 


No.  274.  A fragment  of  revetment,  showing  a palmette.  Red  and 
black  are  used  for  decoration.  This  revetment  probably 
is  of  the  same  design  as  No.  270. 

Luce  and  Holland,  loc.  cit.,  p.  325,  No.  6,  and  Fig. 
3,  No.  3. 

No.  277.  A small  architectural  fragment  from  Southern  Italy,  with 
a design  of  a Medusa  head  in  relief. 

The  other  revetments  in  the  Museum’s  collection  published  by 
Luce  and  Holland  (loc.  cit.,  Nos.  7-10,  and  12-20,  and  PI.  IX, 
Fig.  6,  No.  1,  and  Fig.  8)  and  a pair  of  archaic  antefixes  from  Cervetri, 
published  by  Luce,  A.  J.  A.,  XXIV,  1920,  p.  30,  Fig.  3,  have  been 
retired  owing  to  lack  of  space. 


161 


GREEK  AND  ITALIC  TERRACOTTA  FIGURINES. 


Cases  XXVII  and  XXVIII. 

These  cases  are  given  over  to  the  exhibition  of  Greek  and  Italic 
terracotta  figurines.  Most  of  them  were  made  by  Greek  colonists  in 
Tarentum  in  Southern  Italy.  These  Tarentine  terracottas  frequently 
rival  in  beauty  those  which  come  from  Greece  itself ; of  which  Tanagra 
in  Boeotia  is  the  principal  finding  place.  Indeed,  many  people  speak 
of  all  figurines  as  Tanagras,  so  famous  has  been  the  beauty  of  the 
terracotta  statuettes  from  that  place.  Others  of  great  beauty  have 
been  found  in  Asia  Minor,  in  the  Necropolis  of  Myrina,  near  Smyrna. 

The  Tarentine  terracottas  are  closer  to  those  from  Tanagra 
than  are  the  Myrina  figurines;  but  the  best  period  is  probably  some- 
what later,  being  from  the  end  of  the  fourth  through  the  third  century 
B.  C. 

Other  specimens  in  these  cases  come  from  Etruria.  These 
Etruscan  terracottas  are  of  considerably  coarser  manufacture  than 
those  from  Greek  lands  (in  which,  of  course,  Tarentum  must  be 
included)  and  some  of  them  seem  to  be  architectural  members. 

In  numbering  these  specimens,  it  has  been  considered  best  to 
have  the  numbers  follow  those  of  Case  V,  in  the  West  Room, 
Alcove  D.  In  that  case  is  a series  of  terracottas  numbered  from  1 
to  23.  The  specimens  in  Case  XXVII,  accordingly,  will  begin  with 
the  number  24. 

Case  XXVII. 

No.  24.  Archaic  statuette  of  a priestess,  standing,  with  a torch  in 
her  right  hand.  She  is  heavily  draped  and  wears  a veil. 
The  provenance  of  this  figurine  is  unknown;  but  it  appears 
to  be  Etruscan,  and  it  certainly  cannot  be  of  later  date  than 
the  fifth  century  B.  C. 

No.  25.  Fragment  of  a terracotta  relief  with  the  head  and  shoulders  of 
Herakles  in  profile.  The  provenance  is  unknown,  but  it 
seems  to  be  Etruscan,  and  to  belong  in  the  fifth  century 
B.  C. 

No.  26.  Etruscan  head  of  a woman,  from  Cervetri,  the  ancient  Caere. 

She  wears  an  elaborate  diadem,  a necklace,  to  which  a 
bulla  is  attached,  and  a pair  of  enormous  earrings. 
There  is  no  trace  of  polychromy,  except  that  the  whole 


162 


MEDITERRANEAN  SECTION 


head  seems  to  have  been  covered  with  a white  slip.  In 
style,  this  head  is  like  those  in  the  antefixes  261  A,  261  B, 
and  263,  in  Case  XXXIV,  which  also  come  from  Cervetri. 

No.  27.  Head  of  a bearded  male  figure,  probably  Roman,  and  of 
about  the  first  century  B.  C. 

No.  28.  Tarentine  terracotta  figurine  of  a woman.  She  wears  a 
chiton  and  himation  in  the  Greek  fashion,  and  in  pose  is 
very  like  the  famous  Tanagra  figurines.  She  is,  however, 
of  rather  greater  height  than  the  figurines  from  Greece 
proper,  and  the  workmanship  is  not  quite  so  exquisite. 
It  is,  however,  certain  that  in  this  specimen  we  have  an 
example  of  the  technique  of  Tarentum  of  the  end  of  the 
fourth  century  B.  C 

No.  29.  Another  draped  female  statuette  from  Tarentum,  of  the 
same  period.  On  this  specimen  can  be  seen  marked  traces 
of  polychrome  decoration,  much  more  of  which  is  preserved 
than  in  No.  28. 

No.  30.  Terracotta  head  of  a girl,  of  great  beauty,  said  to  have  come 
from  Greece.  It  shows  no  trace  of  polychromy,  and  is  a 
work  of  the  fourth  century  B.  C. 

No.  31.  Terracotta  head  of  a woman.  The  provenance  is  unknown; 

but  it  is  probably  Tarentine,  and  may  be  said  to  be  of  the 
end  of  the  fourth  century  B.  C. 

No.  32.  Terracotta  male  head,  grotesque.  This  form  of  caricature 
is  common  in  the  Hellenistic  period  of  Greek  art.  Taren- 
tine modellers  of  figurines  seem  to  have  delighted  in  these 
caricatures.  This  specimen  is  Tarentine,  and  belongs  in 
the  third  century  B.  C. 

No.  33.  A small  plaster  reproduction  of  a terracotta  head  in  the 
British  Museum.  It  is  of  a warrior,  wearing  a helmet,  and 
bearded.  The  painting,  on  the  cast,  reproduces  accu- 
rately the  polychromy  of  the  original. 

British  Museum,  Cat.  Terracottas,  p.  40,  No.  A232, 
and  Fig.  8.  Found  at  Dali,  Cyprus.  Graeco-Phoenician 
period,  about  fifth  century  B.  C. 

No.  34.  Archaic  terracotta  statuette  of  a woman,  seated,  holding  a 
baby  at  her  breast.  The  provenance  is,  unfortunately, 
unknown;  but  it  seems  to  have  been  found  in  Etruria,  and 
to  be  a Greek  importation.  It  should  be  placed  in  the 
fifth  century  B.  C. 


163 


THE  UNIVERSITY  MUSEUM 


Case  XXVIII. 

No.  35.  Head  of  a faun.  On  his  head  is  a garland  of  grapes  and  vine- 
leaves,  and  a horn  seems  to  be  protruding  from  the  right 
side  of  his  forehead.  Marked  traces  of  polychromy  exist, 
shewing  that  his  face  was  painted  red.  This  head  is 
Etruscan,  and  wras  found  at  Corneto-Tarquinia,  the  ancient 
Tarquinii. 

No.  36.  An  Etruscan  gargoyle,  or  water  spout,  in  the  form  of  the 
head  of  a winged  lion  of  uncertain  provenance.  The 
Etruscans  were  in  the  habit  of  using  terracotta  for  their 
architectural  ornaments,  often  to  the  exclusion  of  stone, 
on  account  of  its  greater  cheapness.  Details  are  rendered 
in  red,  white,  and  black.  Cases  XXX  and  XXXIV  in 
this  room  are  devoted  to  the  exhibition  of  Etruscan  archi- 
tectural terracottas. 

No.  37.  A chubby  little  Hellenistic  figurine  of  Eros,  or  Cupid;  a 
very  delightful  little  wTork  of  art  dating  probably  in  the 
third  century  B.  C.,  but  perhaps  even  as  much  as  a century 
later.  Unfortunately,  as  in  the  case  of  so  many  of  these 
figurines,  the  provenance  is  not  known;  but  it  is  probably 
Tarentine,  though  it  may  come  from  Greece  itself.  There 
is  brilliant  polychrome  decoration. 

No.  38.  Head  of  a woman,  probably  from  Tarentum,  and  of  the 
third  century  B.  C. 

No.  39.  Archaic  statuette  of  a woman,  with  a patera  in  her  right 
hand.  At  her  feet  is  an  animal;  above  her  right  shoulder, 
a youthful  male  figure,  nude,  perhaps  an  Eros:  on  the 
other  side  is  a palm  tree.  The  woman  wears  a veil.  This 
is  either  a statuette  of  Aphrodite,  or  of  a priestess  of  that 
goddess,  as  it  would  appear  from  the  presence  of  the  Eros. 

This  figurine  is  probably  Etruscan,  and  cf  the  early 
fifth  century  B.  C.;  if  not  Etruscan,  it  is  from  Southern 
Italy. 

No.  40.  Head  of  a youth,  wearing  a cap,  or  helmet,  of  the  shape 
known  as  a pilos.  This  figurine  is  Tarentine.  of  the  end 
of  the  fourth  century  B.  C. 

No.  41.  Head  of  a woman,  of  uncertain  provenance.  It  seems, 
however,  to  belong  in  the  fifth  century  B.  C.,  and  to  be 
Etruscan.  It  is,  perhaps,  an  architectural  ornament. 


164 


MEDITERRANEAN  SECTION 


No.  42.  A charming  head  of  a boy,  of  uncertain  provenance.  The 
naturalism  portrayed  in  this  fine  fragment  would  put  it  at 
a late  date,  perhaps  as  late  as  the  end  of  the  third  century 
B.  C.  The  head,  following  the  usual  custom,  is  painted 
red.  This  is  probably  of  late  Etruscan  or  early  Roman 
workmanship. 

No.  43.  Etruscan  or  Roman  terracotta  statuette  of  two  women,  side 
by  side.  It  has  been  much  restored,  and  was  made  origin- 
ally in  the  second  century  B.  C. 

No.  44.  Statuette  of  a seated  female  divinity,  with  a child  in  her 
arms.  Over  her  head  is  a canopy.  Traces  of  a chalky 
white  slip  remain.  This  belongs  in  the  fifth  or  fourth  cen- 
turies B.  C. 

No.  45.  Head  of  a youth,  wearing  a pilos.  This  head  is  similar  to 
No.  40,  but  is  somewhat  larger.  It,  too,  is  Tarentine,  and 
of  the  same  period. 

No.  46.  A very  archaic  statuette  of  a male  figure,  wearing  a diadem. 

and  holding  a tablet  (?)  to  his  breast.  The  back  is  hollow. 
Traces  of  polychromy  remain.  This  object  must  be  at 
least  of  the  sixth  century  B.  C.,  and  is  either  Greek  or 
Etruscan,  probably  the  latter.  The  provenance  is 
unknown. 

No.  47.  A Greek  jointed  doll,  whose  arms  and  legs  are  fastened  to 
the  body  by  thread,  and  which  were  made  to  swing  freely. 
The  doll  is  a nude  female  figure,  and  holds  a shallow  cup 
in  her  right  hand,  of  a type  called  by  the  Greeks  a phiale. 
The  head  may  not  belong  with  the  rest  of  the  body,  but 
the  original  head  was  of  exactly  the  same  type.  This  doll 
was  found  near  Athens,  and  was  purchased  there  by  Miss 
Alice  M.  Freeman,  who  presented  it  to  the  Museum  in  1917. 
Its  importance  lies  in  the  fact  that  not  many  of  these  dolls 
are  extant.  It  was  made  in  the  fourth  century  B.  C. 
S.  B.  L(uce),  Museum  Journal,  VIII.  1917,  pp.  186-87, 
Fig.  71. 


CONTENTS  OF  THE  WEST  ROOM. 

Greek  and  Roman  Sculpture. 

Reproductions  of  Minoan  Frescoes. 

Reproductions  of  Cretan  and  Mycenaean  Antiquities.  . .Cases  I,  II, 

III,  IV 

Greek  and  Italic  Terracotta  Figurines Case  V 

Greek,  Etruscan  and  Roman  Gold  Jewelry  and  Gems Case  VI 

Roman  Necklaces  of  Glass  and  Semi-precious  Stones.  . . .Case  VII 

Etruscan  Bronze  Objects Cases  VIII,  X 

Roman  Glass: 

The  John  Thompson  Morris  Collection Cases  XI,  XIV 

Other  Collections Cases  IX,  XII,  XIII,  XV,  XVI 


1 67 


GREEK  AND  ROMAN  SCULPTURE. 

West  Room. 

No.  1.  Head  of  the  youthful  Dionysos,  about  one  third  life  size.  His 
right  arm  comes  up  over  his  head,  which  is  crowned  with 
ivy.  This  exquisite  little  piece  is  a copy  of  a well  recog- 
nized type  of  statue  of  the  god. 

Accession  No.  MS4027.  A.  J.  A.,  XVI,  1912,  p.  101, 
No.  4 (Bates).  For  an  example  of  this  type  of  head  of 
Dionysos,  found  at  the  American  excavations  at  Old 
Corinth,  Greece,  see  Richardson,  A.  J.  A.,  VIII,  1904,  pp. 
288-96,  No.  4,  and  PI.  XIII. 

No.  2.  Fragment  of  a halfdraped  female  torso,  found  near  the  Lake 
of  Nemi,  about  one  quarter  life  size.  Although  the  hand 
is  crudely  executed,  the  rest  of  the  piece,  especially  the 
nude  upper  body,  is  fairly  well  modeled. 

Accession  No.  MS3474. 

No.  14.  Roman  marble  head  found  in  Sardinia;  an  extremely  real- 
istic portrait  of  a lady  of  middle  age,  and  of  good  birth  and 
breeding.  The  head  gives  an  impression  of  refinement  and 
dignity.  From  the  dressing  of  the  hair,  which  is  charac- 
teristic of  the  time  of  Marcus  Aurelius,  or  a little  earlier, 
it  is  possible  to  give  a fairly  close  date  to  this  piece  of 
sculpture;  namely,  the  end  of  the  first,  or  first  quarter  of 
the  second  century  A.  D.  The  head  is  life  size. 

Accession  No.  MS4919.  E.  H.  H(all),  Museum  Jour- 
nal, V,  1914,  pp.  28-30,  Fig.  16.  A.  J.  A.,  XVIII,  1914, 
p.  416. 

No.  16.  A Roman  marble  head  of  a woman,  wearing  a veil  over  the 
back  of  her  head.  This  head  was  acquired  in  Florence, 
but  its  actual  place  of  origin  is  not  known.  It  probably 
belongs  at  the  beginning  of  the  first  century  A.  D.  This 
head  is  life  size. 

Accession  No.  MS4032. 

No.  17.  Statuette  of  a draped  woman,  found  near  the  Lake  of 
Nemi.  This  statuette,  and  all  other  objects  of  sculpture 
to  be  described  from  this  site,  were  probably  from  the 
sanctuary  of  Diana,  but  for  this  there  is  no  definite  evi- 


169 


THE  UNIVERSITY  MUSEUM 


dence.  As  in  the  other  cases,  the  head  and  arms  were 
fastened  to  the  rest  of  the  statue  by  dowels.  This  marble 
is  of  a different  quality  from  that  used  in  the  nude  figures, 
so  that  it  is  possible  that  in  this  example,  as  in  No.  29, 
these  parts  were  made  of  another,  and  a superior  material. 
The  transparent  nature  of  the  drapery  is  well  rendered, 
and  the  pose,  though  slightly  affected,  is,  nevertheless,  very 
graceful.  Beside  the  dowel  holes  for  the  attachment  of  the 
nude  parts  of  the  body,  there  is  another  on  the  left  shoulder, 
the  purpose  of  which  is  not  clear. 

Accession  No.  MS3478.  E.  H.  H(all),  Museum  Journal, 
V,  1914,  pp.  117-21,  and  Fig.  67. 

No.  18.  A relief  of  the  so  called  Neo-Attic  school.  There  are,  as 
has  been  pointed  out,  replicas  of  this  relief  in  Dresden, 
Petrograd  and  Berlin,  as  well  as  this  specimen;  and,  on 
the  analogy  of  the  Dresden  relief,  a cast  of  which  is  on 
exhibition  in  the  Metropolitan  Museum  in  New  York,  it 
is  possible  to  add  to  this  list  another  relief  in  Berlin  and 
one  in  the  Villa  Albani  in  Rome.  The  relief  represents  a 
woman,  standing  to  right  before  a tripod.  She  is  adorning 
it  with  a fillet.  Her  head,  and  the  top  of  the  tripod  are 
missing.  At  the  right  a second  figure  stood  facing  her. 
Only  the  lower  part  remains,  but,  on  the  analogy  of  the 
Dresden  relief,  we  know  that  it  is  the  figure  of  a man. 
The  drapery  is  treated  in  a very  mannered  and  archaistic 
style. 

Accession  No.  MS4918.  E.  H.  H(all),  Museum  Jour- 
nal, V,  1914,  pp.  26-28,  Fig.  15.  A.  J.  A.,  XVIII,  1914, 
p.  416. 

No.  19.  Nude  statuette  of  a woman  or  goddess.  This  was  found  at 
Caesarea  in  Asia  Minor,  and  was  acquired  in  1895.  The 
missing  parts  are  the  head  and  right  leg  below  the  middle 
of  the  thigh,  which  were  originally  chiseled  out  of  the  same 
block  of  marble  as  the  body;  and  the  arms,  which  were 
fastened  by  dowels.  Although  unquestionably  of  the 
Roman  period,  the  modeling  is  skilful  and  tender. 

Accession  No.  MS214.  Height,  60.7  cm. 

No.  20.  Roman  relief,  found  at  Puteoli,  the  modern  Pozzuoli.  On 
the  back  is  an  inscription,  which  has  been  erased,  so  that  it 
is  now  almost  illegible.  Enough  can  be  read  to  show  that 


170 


MEDITERRANEAN  SECTION 


this  relief  was  part  of  a monument  of  some  kind  erected  by 
the  people  of  Puteoli  (the  word  PVTEOLANA  can  be  made 
out  on  a line  by  itself,  the  fourth  line  from  the  bottom)  in 
honor  of  some  emperor  (on  the  first  line  the  words  IMP- 
CAESAR  I can  be  distinguished)  whose  name  is  erased 
beyond  recovery.  The  relief  is  divided  in  front  into  two 
parts  of  almost  equal  size  by  a high  vertical  moulding,  the 
part  of  the  right  being  about  61.5  cm.  wide,  while  the  one 
at  the  left  is  about  49.5  cm.  in  width. 

The  section  to  the  right  is  decorated  with  a high  relief 
of  a Roman  soldier,  facing  the  front.  He  is  draped  in  a 
tunic,  which  is  caught  up  so  as  to  leave  his  legs  bare  below 
the  knees.  Over  this  is  a cloak.  His  feet,  which  are  lost, 
were  originally  clad  in  sandals.  The  top  of  the  right 
sandal  is  preserved.  He  wears  a sword  belt,  and,  on  his 
right  side,  a richly  decorated  scabbard.  In  his  right  hand 
he  carried  a spear,  which  is  lost.  The  left  arm  and  leg  of 
this  figure  are  missing,  and  seem  probably  to  have  been 
on  another  block  adjoining  this  one.  In  fact,  Sieveking 
has  recently  shown  that  a relief  from  Pozzuoli,  in  Berlin, 
completes  this  figure,  and  proves  that  the  orignal  monu- 
ment turned  a corner  at  this  point,  as  the  Berlin  relief  has 
a figure  of  another  Roman  soldier  at  right  angles  to  the 
rest  of  the  figure  in  Philadelphia. 

The  panel  at  the  left  is  decorated  with  two  Roman 
soldiers  marching  to  left.  They  are  in  much  lower  relief 
than  the  figure  at  the  right,  and  of  the  one  in  front,  only 
half  is  preserved,  showing  that  another  block  fitted  to  the 
monument  at  this  point.  Indeed,  this  is  further  proven 
by  the  presence  of  anathyrosis  at  the  end.  These 
soldiers  are  clad  in  much  the  same  way  as  the  figure  at  the 
right,  except  that  the  one  in  the  background  carries  over 
his  shoulder  a very  elaborately  decorated  shield,  or  scutum, 
that  afforded  protection  to  his  whole  torso,  from  shoulder 
to  thigh. 

This  relief  may  probably  be  dated  in  the  second  cen- 
tury A.  D.,  somewhere  about  the  time  of  the  Emperor 
Trajan. 

Accession  No.  MS4916.  Height,  1.63  m.  Gabrici, 
Notizie  degli  Scavi,  1909,  p.  212.  A.  J.  A.,  XIV,  1910, 


171 


THE  UNIVERSITY  MUSEUM 


p.  391.  Bates,  A.  J.  A.,  XVI,  1912,  p.  101,  No.  6 (identifies 
figure  on  right  as  portrait  of  Augustus,  on  insufficient 
grounds).  Reinach,  Repertoire  de  Reliefs  Grecs  et  Ro- 
mains,  Vol.  II,  1912,  p.  208,  No.  2.  E.  H.  H(all),  Museum 
Journal,  IV,  1913,  pp.  142-46,  Figs.  125,  126.  A.  J.  A., 
XVIII,  1914,  p.  526,  Fig.  2.  Sieveking,  Sitzungsberichte 
der  Akademie  zu  Munchen,  1919,  pp.  1-8  and  plate. 
(6.  Abhandlung;  21  Juni,  1919.) 

No.  21.  Head  of  Athena,  of  Pentelic  marble,  said  to  have  been 
acquired  in  Cairo.  This  head  is  a little  over  life  size,  and 
is  probably  of  Hellenistic  workmanship  of  the  second  cen- 
tury B.  C.  It  is  a good  example  of  its  period,  with  the 
hair  in  broad,  bold  waves,  showing  a marked  striving  for 
effect.  On  the  head  is  a helmet,  only  the  lower  part  of 
which  is  preserved,  but  which  was  probably  of  the  so  called 
Corinthian  type. 

Accession  No.  MS4026.  Furtwangler,  Sitzungs- 
berichte der  Akademie  zu  Munchen,  1905,  p.  260,  No.  26 
(identifies  it  incorrectly  as  head  either  of  Mars  or  Alex- 
ander, but  probably  Ares).  Bates,  A.  J.  A.,  XVI,  1912, 
p.  101,  No.  1 (correctly  identifies  the  head  as  that  of  an 
Athena). 

No.  22.  Head  of  the  so  called  Menander  type,  about  one  third 
over  life  size.  This  is  a Hellenistic  work  of  the  third 
Century  B.  C.,  and  is  a good  specimen  of  the  Greek  ideal- 
ized portrait  head.  There  are  two  other  heads  of  this 
Menander  type  in  America,  both  preserved  in  the 
Museum  of  Fine  Arts  in  Boston.  These  portraits  of 
Menander,  if  indeed  they  are  to  be  considered  as  likenesses 
of  him,  have  acquired  additional  interest  in  late  years 
through  the  discovery'  in  1905  of  large  fragments  of  four  of 
his  comedies,  an  event  of  the  greatest  importance  in  the 
history  of  Greek  literature. 

Accession  No.  MS4028.  Furtwangler,  Sitzungs- 
berichte der  Akademie  zu  Munchen,  1905.  p.  261,  No.  36 
(denies  the  accuracy  of  calling  this  class  of  heads  portraits 
of  Menander).  Bates,  A.  J.  A.,  XVI,  1912,  p.  101,  No.  5. 
E.  H.  H (all).  Museum  Journal,  V,  1914,  pp.  122-24,  Fig.  68. 

No.  26.  A statue  of  a faun,  found  near  the  Lake  of  Nemi.  When 
found,  it  was  broken  into  many  small  pieces,  which,  how- 


172 


MEDITERRANEAN  SECTION 


c\  er,  join  perfectly.  I his  may  be  considered  a Roman 
copy  of  a Greek  original  of  the  fourth  century  B.  C. 

Accession  No.  MS3452.  Height,  1.3  m.  Furt- 
wangler,  Sitzungsberichte  der  Akademie  zu  Munchen,  1905, 
p.  261,  No.  32.  Bates,  Museum  Journal,  I,  1910,  pp. 
30-33,  Fig.  18.  A.  J.  A.,  XV,  191 1,  p.  231. 

No.  27.  Nude  statuette  of  a boy.  This  piece  of  sculpture  also  came 
from  the  neighborhood  of  the  Lake  of  Nemi,  and  is  one 
of  the  best  of  the  objects  from  that  place  in  the  possession 
of  the  Museum.  When  originally  acquired,  it  had  been 
fitted  with  a head  that  did  not  belong  to  it,  and  was  set 
up  with  the  weight  on  the  right  leg,  whereas  it  should 
have  been  on  the  left.  It  originally  was  a statuette  of  an 
Eros,  as  is  proven  by  the  dowel  holes  for  wings  that  are 
on  the  shoulders.  From  the  attitude,  and  from  similar 
examples  in  European  museums,  it  is  certain  that  he  was 
engaged  in  stringing  a bow,  perhaps  the  bow  of  Herakles. 
This  statuette  was  made  in  the  first  century  B.  C.,  and  is 
a Roman  copy  of  a Hellenistic  original  of  perhaps  two 
centuries  earlier. 

Accession  No.  MS3456.  Height,  58  cm.  Furt- 
wangler,  Sitzungsberichte  der  Akademie  zu  Munchen,  1905, 
p.  260,  No.  27.  Bates,  Museum  Journal,  I,  1910,  pp. 
30-33,  Fig.  17.  A.  J.  A.,  XVI,  1911,  p.  231.  E.  H.  H(all), 
Museum  Journal,  V.  1914,  pp.  117-211,  Fig.  66. 

No.  28.  Male  head,  a little  over  life  size,  found  at  Caesarea  in  Asia 
Minor,  and  acquired  by  the  Museum  in  1895.  It  is  a head 
of  the  late  Roman  period,  and  is,  in  all  probability,  the 
portrait  of  an  emperor,  although  the  identification  is  still 
uncertain.  The  head  is  bearded,  and  crowned  with  a 
curious  form  of  crown.  In  many  ways  this  head  is  one  of 
the  most  interesting  specimens  in  the  Mediterranean 
Section. 

Accession  No.  MS215. 

No.  29.  A statue  of  gray  marble,  representing  a female  figure  rush- 
ing forward,  after  the  type  of  the  Victory  of  Samothrace. 
In  its  original  state  the  head,  arms  and  feet  were  fastened 
to  the  body  by  dowels,  and  were  probably  of  a white 
marble.  The  work  is  Greek  in  style,  but  whether  it  is  an 
original  Greek  statuette  of  the  Hellenistic  period  or  a 


173 


THE  UNIVERSITY  MUSEUM 


Roman  copy  has  not  been  satisfactorily  determined. 
Acquired  in  Rome. 

Accession  No.  MS4029.  Height,  59  cm.  Furt- 
wangler,  Sitzungsberichte  der  Akademie  zu  Munchen,  1905, 
p.  261,  No.  34  (calls  it  perhaps  Diana  as  Moon  Goddess). 
Bates,  A.  J.  A.,  XVI,  1912,  p.  101,  No.  3 (calls  it  perhaps 
an  Iris).  E.  H.  H(all),  Museum  Journal,  V,  1914,  pp. 
115-16,  Fig.  65  (calls  it  a Roman  copy  of  a fifth  century 
original,  perhaps  of  a Nereid). 

No.  30.  A small  Roman  portrait  head  of  a boy,  about  life  size,  or  a 
little  under.  This  represents  the  best  period  of  Roman 
portraiture,  the  age  of  Augustus.  It  is  one  of  the  finest 
examples  of  its  kind  in  America. 

Accession  No.  MS4030.  Furtwangler,  Sitzungs- 
berichte der  Akademie  zu  Munchen,  1905,  p.  261,  No.  35. 

No.  31.  Statuette  of  a woman  wearing  an  Ionic  chiton,  or  gown, 
with  short  sleeves,  and  above  this  a robe  of  heavy  material, 
called  a himation.  With  her  right  hand  she  holds  up  one 
end  of  this  garment,  which  then  passes  across  her  back, 
and  is  gathered  up  over  her  left  shoulder.  The  folds  over 
the  shoulder  are  broken  away,  and  the  left  arm  is  missing, 
as  is  the  head.  The  drapery  at  the  bottom,  and  the 
right  arm  at  and  above  the  elbow,  have,  for  some  reason, 
been  cut  away,  probably  because  this  little  statue  was 
meant  to  be  seen  in  high  relief. 

Accession  No.  MS4025.  Height,  43  cm. 

No.  32.  Statuette  of  a youth,  found  near  the  Lake  of  Nemi.  He 
wears  a short  chiton,  descending  only  to  the  knees,  and 
high  boots.  The  left  leg  below  the  knee  and  the  entire 
body  above  the  middle  of  the  torso  are  missing,  and  the 
presence  of  dowel  holes  proves  that  the  upper  body  was 
made  in  a separate  piece  and  attached  to  the  preserved 
part.  The  head  was  also,  in  all  probability,  carved  sepa- 
rately, and  attached  by  a dowel  to  the  upper  body. 

Accession  No.  MS3453.  Height,  as  preserved,  53.5  cm. 

No.  33.  Torso  of  an  Eros  from  the  Lake  of  Nemi.  The  modeling, 
by  its  delicacy  and  warmth,  proves  it  to  be  of  the  Graeco- 
Roman  period  of  the  first  century  B.  C.  The  torso  is  nude. 
The  arms,  legs  below  the  knees,  and  head  were  made  sepa- 
rately, and  fitted  on  with  dowels,  the  holes  for  which 


174 


MEDITERRANEAN  SECTION 


can  still  be  seen.  There  are  also  holes  in  the  shoulders, 
for  the  attachment  of  wings. 

Accession  No.  MS3473.  Height,  42.8  cm.  Furt- 
wangler,  Sitzungsberichte  der  Akademie  zu  Munchen,  1905, 
p.  260,  No.  28. 

No.  34.  Relief  from  a Roman  sarcophagus.  The  clumsy,  inartistic 
workmanship  points  to  a late  period  for  this  relief,  which 
probably  belongs  to  the  second  century  of  our  era,  or  even, 
perhaps,  as  late  as  the  third.  It  represents  the  triumph 
of  Dionysos.  He  is  seen  at  the  left,  riding  in  a chariot 
drawn  by  a centaur,  and  preceded  and  surrounded  by 
nymphs,  satyrs,  and  cupids;  while  at  his  feet  are  various 
wild  animals,  such  as  liens  and  panthers. 

Accession  No.  MS4017.  Height,  68.1  cm.;  length, 
1.756  m.  Bates,  A.  J.  A.,  XVI,  1912,  p.  101,  No.  7. 

No.  35.  A seated  statue  of  Dionysos,  or  perhaps  of  Herakles.  He  is 
nude,  and  sits  on  a rock,  on  which  is  spread  the  skin 
of  a panther.  Beside  him  sits  a lion,  whose  head  he  is 
stroking.  It  was  acquired  in  Rome,  and  its  history  is  well 
known;  it  is  reported,  indeed,  to  have  passed  into  the 
possession  of  its  former  owners  in  Rome  in  1622.  At  one 
time  in  its  existence  the  statue  was  used  for  a fountain, 
as  is  proven  by  the  fact  that  passages  have  been  bored 
through  the  mouth  of  the  lion  from  the  nape  of  the  neck, 
and  from  front  to  back  straight  through  the  torso  of  the, 
god.  The  nostrils  and  left  cheek  of  the  lion,  and  the  head, 
thumb  and  forefinger  of  left  hand,  big  toe  of  right  foot  and 
two  portions  of  the  right  leg  have  been  restored,  perhaps 
as  early  as  the  Renaissance. 

Accession  No.  MS5483.  Height,  1.37  m.  E.  H. 
H(all),  Museum  Journal,  IV,  1913,  pp.  164-67,  Fig.  142. 

No.  36.  A vase  of  white  marble,  with  two  designs  in  relief  of  two 
griffins  killing  a doe.  It  bears  the  inscription  CHIO  D.  D. 
It  was  found,  like  so  many  of  the  other  sculptures  in  the 
collection,  near  the  Lake  of  Nemi.  The  shape  is  exceed- 
ingly  graceful,  and  the  marble  of  great  purity  of  color. 

Accession  No.  MS3446. 

Nos.  37,  38,  39,  and  40.  Four  marble  urns,  all  alike,  and  inferior  in 
execution  to  No.  36.  They  are  each  decorated  with  three 
griffins’  heads  rising  from  the  shoulder  and  a scallop 


175 


THE  UNIVERSITY  MUSEUM 


pattern  from  centre  to  foot.  They  were  also  found  near 
the  Lake  of  Nemi.  All  bear  the  same  inscription  that 
appears  on  No.  36,  CHIO  D.  D.  This  inscription  has  been 
interpreted  in  several  ways;  but  in  any  case  it  is  clear 
that  one  of  the  two  D’s  signifies  either  DONUM  or 
DEDIT.  In  other  words,  these  urns  are  offerings.  By 
the  Lake  of  Nemi,  as  is  well  known,  was  a famous  sanctu- 
ary of  Diana.  It  is,  therefore,  possible  that  the  other  D 
may  stand  for  DIANAE,  and  that  the  inscription  means 
“Ohio’s  gift  to  Diana.”  [CHIO  D(IANAE),  D(ONUM) 
or  D(EDIT).]  This  reading  is,  however,  not  acceptable, 
for  two  reasons;  first,  because  there  is  no  cause  for  suppos- 
ing that  these  objects  were  actually  found  in  the  sanctuary 
of  Diana,  or  even  in  the  temple  enclosure;  second,  because 
the  Romans  would  probably  not  take  such  liberties  with 
the  name  of  a goddess  as  to  abbreviate  it  to  one  letter,  but 
would  write  it  out  in  full.  It  is  therefore  more  probable 
to  read  this  inscription  as  CHIO  D(ONUM)  D(EDIT), 
“Chio  gave  as  a gift.” 

Accession  Nos.  MS3448,  MS3449,  MS3450,  MS3451. 
Notizie  degli  Scavi,  1895,  pp.  424ff.  Furtwangler,  Sitzungs- 
berichte  der  Akademie  zu  Miinchen,  1905,  p.  260,  No.  25. 
These  references  are  for  No.  36  as  well. 

Nos.  41  and  42.  Casts  of  two  of  the  famous  archaic  statues  of 
ladies,  that  are  now  the  most  interesting  objects  in  the 
Museum  of  the  Acropolis  at  Athens.  As  they  were  all 
found  on  the  Acropolis,  they  are  sometimes  called  the 
Acropolis  maidens,  but  usually  they  are  called  the 
korai  (ancient  Greek  for  maidens  or  girls)  or  often 
the  tanten.  They  were  votive  statues  set  up  in  the 
precinct  of  Athena  in  the  sixth  century  B.  C.,  and  owe 
their  preservation  to  the  fact  that  they  were  used  as  build- 
ing material  for  the  walls  of  the  Acropolis,  after  the  battle 
of  Salamis,  when  the  Athenians  returned  to  their  city. 
These  reproductions  are  cleverly  colored,  in  almost  exact 
imitation  of  the  originals,  and  show  how  the  Greeks  painted 
their  sculptures.  The  idea  of  cold  uncolored  marble  was 
foreign  to  their  conception.  Even  the  temples  were  colored. 

Accession  Nos.  MS4024  and  MS5380.  The  originals 
of  these  casts  are  those  published  in  Perrot  and  Chipiez, 


176 


MEDITERRANEAN  SECTION 


Hist,  de  l’Art  dans  l’Antiquite,  Vol.  VIII,  p.  577,  Fig. 
289,  and  p.  592,  Fig.  297. 

No.  45.  Fragment  of  statue  of  heroic  size,  said  to  have  been  found 
near  Rome.  The  head,  left  forearm,  right  arm,  right  leg 
below  the  knee,  and  left  foot  are  missing.  The  torso  is 
nude,  with  a cloak  flung  over  the  left  shoulder.  The  left 
forearm  leant  against  a roughly  sculptured  tree  stump, 
which  is  half  concealed  by  the  folds  of  the  cloak.  The 
missing  parts  were  fastened  to  the  torso  by  dowels,  and 
were  always  separate  pieces  of  marble.  A Roman  copy 
of  a good  Greek  original  of  perhaps  the  fourth  century  B.  C. 

Accession  No.  MS4018.  Estimated  height  of  com- 
plete statue,  about  seven  feet,  or  2.132  m.  Emerson,  Trans- 
actions, Dept,  of  Archaeology,  University  of  Pennsylvania, 
Vol.  I,  part  III,  1905.  pp/l69-175,  Pis.  XXIII,  XXIV. 
A.  J.  A.,  IX,  1905,  p.  375. 

No.  47.  Torso  of  a boy,  in  Pentelic  marble,  said  to  have  been  found 
near  Athens,  and  of  good  Greek  workmanship.  The  torso 
is  nude.  It  can  be  assigned  on  grounds  of  technique  to  the 
period  included  between  the  end  of  the  fourth  and  the 
beginning  of  the  third  centuries  B.  C.,  and  attributed  to  a 
sculptor  under  the  strong  influence  of  Lysippus.  The  head 
was,  in  all  probability,  carved  out  of  the  same  block  of 
marble  as  the  body,  and  was  removed  in  the  Roman 
period  to  give  place  to  a Roman  portrait  head.  Both 
arms,  and  both  legs  below  the  knees  are  missing.  The 
modeling  recalls  that  of  the  so  called  praying  boy  in  Berlin. 

Accession  No.  MS5461.  Height  as  preserved,  55  cm. 
S.  B.  L(uce),  Museum  Journal,  VII,  1916,  pp.  87-92,  Fig. 
110.  A.  J.  A.,  XXI,  1917,  p.  104,  Fig.  7. 

No.  48.  A relief,  used  as  a revetment  in  a Roman  building,  and  said 
to  have  been  found  in  the  ruins  of  the  Villa  of  Marius  at 
Tivoli.  On  it  are  masks  of  a satyr  and  a maenad,  each 
facing  the  centre.  Between  them  is  a thyrsus. 

Accession  No.  MS3459.  Height,  31  cm.;  length, 
42.9  cm.  Compare  Bulletino  della  Commissione  Areheo- 
logica  Communale  di  Roma,  1902,  pp.  20,  21.  Furtwangler, 
Sitzungsberichte  der  Akademie  zu  Munchen,  1905,  p.  261, 
No.  37.  S.  Reinach,  Gazette  des  Beaux  Arts,  1912,  1,  p. 
73  (incorrectly  places  this  relief  in  the  Metropolitan 


177 


THE  UNIVERSITY  MUSEUM 


Museum  in  New  York).  Reinach,  Repertoire  de  Reliefs 
Grecs  et  Romains,  Vol.  II,  1912,  p.  208,  No.  2. 

No.  49.  An  Attic  grave  stele  of  Pentelic  marble.  The  upper  part, 
which  was  originally  provided  with  a gable,  and  doubtless 
had  the  names  of  the  figures  inscribed  on  the  lintel,  is  lost. 
The  stele  is  that  of  a woman,  who  sits  at  the  right  facing 
the  left,  in  a chair  built  on  very  graceful  lines.  Her  feet, 
which  are  clad  in  sandals,  rest  on  a small  footstool.  She 
wears  an  Ionic  chiton,  and  a himation.  In  front  of  her 
stands  a man,  probably  her  husband,  whose  right  hand 
she  clasps  in  hers.  His  head  is  lost.  He  is  draped  in  a 
himation  which  passes  over  his  left  shoulder,  leaving  his 
chest  and  right  arm  bare.  Between  the  two  figures  is  a 
third,  in  very  low  relief,  of  a woman,  perhaps  to  be  regarded 
as  the  daughter  of  the  couple.  The  man’s  left  hand  rests 
on  her  shoulder,  and  her  right  hand  appears  against  his 
left  shoulder.  This  stele  is  obviously  Attic,  and  is  said 
to  have  been  found  near  Athens.  It  was  made  in  the 
fourth  century  B.  C. 

Accession  No.  MS4020.  Height,  1.16  m.;  width, 
58.4  cm.  Reinach,  Repertoire  de  Reliefs  Grecs  et  Ro- 
mains, Vol.  II,  1912,  p.  208,  No.  5.  E.  F.  R(ambo), 
Museum  Journal,  X,  1919,  pp.  149-55,  Fig.  59. 

No.  50.  A colossal  bearded  mask  of  a river  god,  found  at  Teano. 

This  interesting  piece  is  made  of  a soft  porous  stone,  like 
tufa,  but  somewhat  harder,  and  is  about  four  times  natural 
size.  On  the  cheeks  are  evidences  of  corrosion  from  water. 

Accession  No.  MS4917.  Height  from  end  of  beard 
to  tip  of  crown,  71  cm.;  maximum  width  of  face,  57  cm. 
Gabrici,  Notizie  degli  Scavi,  1908,  pp.  399-416,  and 
especially  p.  405,  and  p.  407,  Fig.  6.  A.  J.  A.,  XIV, 
1910,  p.  128. 

East  Room. 

No.  53.  A fine  Attic  grave  stele  of  Pentelic  marble,  in  good  preserva- 
tion. At  the  left  is  the  seated  figure  of  a woman,  facing 
the  right.  She  sits  in  a stiff  chair,  with  her  feet  on  a 
footstool.  She  wears  an  Ionic  chiton,  with  the  ends  brought 
together  by  a series  of  brooches,  to  form  elbow  sleeves. 


178 


MEDITERRANEAN  SECTION 


Over  this  she  wears  a heavy  himation,  thrown  shawl 
fashion  across  her  shoulders,  and  lying  across  her  lap.  On 
her  feet  are  sandals.  Her  hair  is  short  and  curly,  and 
done  in  a coiffure  of  rather  studied  simplicity.  Her  figure 
is  that  of  a woman  of  middle  age,  a fact  which  points  to 
a rather  late  date.  In  front  of  her  stands  a bearded  man, 
clad  in  a himation,  which  is  wound  over  the  left  shoulder, 
leaving  the  right  shoulder  and  arm  bare.  The  couple  clasp 
hands.  Between  them  stands  a third  man,  also  bearded, 
and  represented  as  somewhat  older  than  the  other  man. 
He  wears  his  himation  over  both  shoulders,  falling  in 
straight  folds  down  the  front,  and  leaving  the  centre  of  the 
breast  nude.  With  his  hands  he  holds  up  his  drapery. 
Over  the  group  is  the  conventional  roof,  found  on  all  these 
stelae,  but  here  it  is  represented  as  seen  from  the  side, 
whereas  it  is  usually  shown  as  seen  from  the  front.  On 
the  lintel  over  the  heads  of  the  figures  are  very  faintly 
inscribed  their  names;  by  which  we  learn  that  the  man 
in  the  centre  is  the  father  of  the  man  at  the  right.  The 
name  of  the  woman  was  either  Krinuia  or  Krinuria,  the 
daughter  of  Astratios  or  Stratios;  the  inscription  is  so 
faint  that  the  readings  are  in  doubt.  The  husband’s  name 
was  Nauklaies,  the  son  of  Naukles,  and  below  this  are  the 
letters  Nau  . . . eus,  which  is  without  doubt  a part  of 
the  name  of  the  deme,  or  district  of  Attica,  in  which 
he  lived.  The  name  of  the  figure  in  the  middle  was 
Naukles,  which  corresponds  with  the  name  of  the  husband’s 
father,  as  given  in  the  inscription,  proving  that  this  man 
is  the  husband’s  father.  He  was  the  son  of  Nauklaies, 
and  below  this  is  the  initial  letter  N,  for  the  deme;  the 
rest  of  the  inscription,  giving  the  full  name  of  the  deme  is 
illegible.  The  inscriptions,  therefore,  read : 

KP1NTIA  AXTPATIoT  cshtathp 
natka  h r 

NATK/\A10T£  (?) 

N 

■VATICA  AlWt  (?) 

•VAT/^A  E IOY  £ 

Nat.  . . Er  t (?) 

179 


THE  UNIVERSITY  MUSEUM 


Owing  to  the  realism  shown  in  the  portrayal  of  the 
woman,  and  the  very  high  relief  in  which  the  figures  are 
carved,  it  is  safe  to  date  this  stele  in  the  neighborhood  of 
350  B.  C. 

Accession  No.  MS5470.  Height,  1.55  m.;  width,  90 
cm.  S.  B.  L(uce),  Museum  Journal,  VIII,  1917,  pp.  10-14, 
Fig.  1.  A.  J.  A.,  XXI,  1917,  p.  352,  Fig.  3.  E.  F. 
R(ambo),  Museum  Journal,  X,  1919,  p.  151. 

No.  54.  Fragment  of  an  Attic  grave  stele  of  Pentelic  marble.  Under 
a gable  are  the  heads  of  a man  and  a woman;  the  man’s 
head  is  in  very  high  relief,  that  of  the  woman  in  much 
lower  relief.  Neither  of  these  figures  represents  the 
deceased,  whose  figure  is  lost;  but,  as  in  Nos.  49  and  53, 
she  was  a woman,  seated  in  a chair.  From  an  inscription 
on  the  lintel,  over  the  place  where  her  head  had  been,  we 
know  her  name,  Glycera  ([rA]T(K]EPA).  She  held  her  hus- 
band's hand,  as  in  the  other  specimens.  The  third  figure, 
that  of  a woman  whose  head  is  preserved,  bears  the  name 
Philippa  (4>IAirrH),  as  is  shown  by  the  inscription  over 
her  head.  What  relationship,  if  any,  she  bore  to  the 
deceased,  it  is  difficult  to  determine;  but  it  has  been 
suggested  that  she  was  the  daughter  of  the  couple.  This 
stele  is  of  the  same  period  as  No.  53.  The  Pentelic  marble 
has  preserved  its  whiteness  in  a very  remarkable  manner. 

Accession  No.  MS4019.  Original  width,  ca.  73  cm. 
Bates,  A.  J.  A.,  XVI,  1912,  p.  101,  No.  2.  E.  F.  R(ambo), 
Museum  Journal,  X,  1919,  pp.  149-55,  Fig.  57. 

No.  55.  A Greek  grave  stele  of  a much  later  period,  said  to  have 
been  found  at  Athens.  It  is  said,  in  publishing  it,  that  it 
cannot  be  later  than  the  Hellenistic  period,  because,  under 
the  sumptuary  law  of  Demetrios  of  Phaleron  in  315  B.  G., 
the  setting  up  of  such  stelae  was  forbidden.  But  it  really 
is  undoubtedly  of  Roman  times,  as  is  shown  by  the  forms 
of  the  letters  in  which  the  inscription  is  cut,  and  the 
technique  of  the  figures,  which  shows  the  decadent  artistic 
sense  of  the  Roman  age. 

In  this  case,  the  stele  was  set  up  over  the  grave  of  a 
man.  He  is  represented  lying  on  a couch,  at  the  right  of 
the  relief,  feasting.  In  his  right  hand  is  a patera.  He  is 
dressed  in  a chiton  with  short  sleeves,  over  which  a hima- 


180 


MEDITERRANEAN  SECTION 


tion  is  so  draped  as  to  cover  his  left  arm  and  legs.  In 
front  of  him  is  a three  legged  table,  on  which  food  has  been 
placed.  Sitting  on  a stool  at  the  foot  of  the  couch  is  the 
wife  of  the  deceased,  wearing  a long  chiton,  and  a himation 
which  she  has  put,  like  a veil,  over  her  hair.  At  the  extreme 
right  and  left  are  two  dimunitive  attendants,  the  one  at 
the  right  (male)  wearing  a short  chiton,  the  one  at  the 
left  (female)  wearing  a Doric  chiton,  and  carrying  a tall 
vase. 

This  scene  is  represented  under  a low  arch,  over  which 
there  is  an  architrave,  on  which  is  carved  the  inscription. 
Above  the  architrave  a gable  has  been  carved  in  low  relief, 
with  acroteria  at  the  apex  and  at  each  end.  The  inscrip- 
reads  as  follows. 

MEN EM AXE  AKMAOT 
XPH2TE  XAIPE 


“Worthy  Menemachus,  son  of  Diphilos,  farewell.” 

The  forms  of  the  letters  of  this  inscription,  as  well  as 
the  late  technique  of  the  figures,  betray  its  late  date,  the 
letters  being  finished  with  apices.  This  stele  would  there- 
fore seem  to  belong  in  the  first  century  A.  D. 

Accession  No.  MS4023.  Height,  70.3  cm.;  maximum 
width,  46.5  cm.  E.  F.  R(ambo),  Museum  Journal,  X, 
1919,  pp.  149-55,  Fig.  58. 


181 


ROMAN  MOSAICS. 

West  Room. 

These  mosaics  are  numbered  consecutively  with  the  examples 
of  Greek  and  Roman  sculpture  just  described.  They  are  all  of  the 
Roman  period,  and  in  date  range  from  the  first  century  B.  C.  to 
late  Roman  Imperial  or  Early  Christian  times.  The  majority  of 
them,  however,  belong  at  about  the  second  century  A.  D. 

No.  43.  Fragment  of  a Roman  mosaic  of  the  style  known  as  Opus 
Alexandrinum,  so  called  because  it  is  supposed  to  have 
originated  at  Alexandria.  Others  believe  that  it  received 
that  name  because  this  technique  is  said  to  have  been 
invented  by  the  emperor  Alexander  Severus:  this,  however, 
is  surely  incorrect.  This  fragment  is  an  excellent  example 
of  this  technique,  with  alternate  squares  of  red  and  green 
porphyry,  forming  a species  of  marqueterie  in  stone.  In 
the  green  squares  small  pieces  of  white  stone  have  been 
inserted,  to  form  designs  in  the  form  of  small  crosses. 
This  would  throw  the  mosaic  into  the  Early  Christian 
period,  so  called,  or  about  the  end  of  the  third  or  beginning 
of  the  fourth  centuries  of  the  Christian  era. 

Accession  No.  MS4014.  S.  B.  L(uce),  Museum  Jour- 
nal, VII,  1916,  pp.  25,  26.  A.  J.  A.,  XX,  1916,  p.  497. 

No.  44.  A Roman  mosaic  of  Opus  Vermiculatum,  the  commonest  of 
the  Roman  mosaic  techniques.  It  has  a charming  design 
of  a duck.  Glass  is  here  employed,  in  combination  with 
colored  stone,  to  render  the  neck  and  bill  of  the  bird. 
This  mosaic  has  much  in  common  with  mosaics  found  in 
the  so  called  House  of  the  Faun  at  Pompeii,  which  is 
dated  in  the  second  century  B.  C.,  suggesting  that  the  first 
century  B.  C.  is  a conservative  date  for  this  fragment. 

Accession  No.  MS4013.  S.  B.  L(uce),  Museum  Jour- 
nal, VII,  1916,  p.  24.  A.  J.  A.,  XX,  1916,  p.  497. 

No.  46.  A Roman  mosaic  of  Opus  Vermiculatum,  of  much  later 
date.  The  design  is  of  two  griffins  facing  a large  calyx 
krater.  Of  the  griffin  at  the  left,  only  the  head  and  fore 
parts  remain.  At  the  right  of  the  fragment  is  a palmette 
design.  The  naturalism  which  we  see  with  so  much 


182 


MEDITERRANEAN  SECTION 


pleasure  in  the  duck  of  No.  44  is  replaced  here  by  a stiff, 
heraldic  conventionalism,  pointing  to  a date  of  perhaps 
the  second  centuy  A.  D. 

Accession  No.  MS4016.  S.  B.  L(uce),  Museum  Jour- 
nal, VII,  1916,  p.  25,  Fig.  14.  A.  J.  A.,  XX,  1916,  p.  497. 


Vestibule  Leading  into  Charles  Custis  Harrison  Hall. 

No.  51.  A fine  example  of  the  best  period  of  Roman  mosaic  art. 

This  pavement  is  said  to  have  been  found  in  the  ruins 
of  Roman  Carthage;  but  there  is  reason  to  doubt  this 
provenance.  In  the  centre  of  the  pavement  is  a 
design  of  two  men,  sailing  to  the  right  in  an  open 
boat.  Each  one  is  paddling  with  an  oar,  which  he 
uses  much  in  the  way  that  one  handles  a canoe  paddle. 
Above  and  below  this  design  is  a simple  design  of 
squares  and  rectangles,  and  a guilloche.  At  the  left 
runs  the  inscription,  twice  repeated,  VINCLVSVS. 
There  is  reason  to  believe  that  much  of  this  inscription 
has  been  restored.  Probably  all  that  is  original  in  the 
inscriptions  are  the  letters  INCLVSVSof  the  inscrip- 
tion at  the  bottom,  and  V I of  the  upper  inscription.  The 
inscription  as  restored  has  no  meaning. 

The  design  of  the  two  men  in  the  boat  is  original, 
and  is  of  the  best  period,  of  the  first  century  A.  D.,  or  a 
little  later. 

Accession  No.  MS4012.  Dimensions,  as  shown,  1.794 
by  1.286  m.  This  pavement  bears  a great  resemblance  to, 
and  may  well  be  a part  of,  the  pavement  published  by 
Georges  Doublet,  in  the  Comptes  Rendus  de  l’Academie 
des  Inscriptions  et  Belles-Lettres,  1892,  p.  318-329;  where 
the  mosaic  is  spoken  of  as  “provenant  de  Sousse.”  This 
mosaic  has  been  lost  for  a long  time,  and  it  is  believed  that 
this  pavement  is  part  of  it.  In  that  case  the  inscription 
should  be  restored  HIC]  INCLVSVS  VI 
[T  A M P E R D I T . This  mosaic  is  mentioned  by 
Heron  de  Villefosse,  Revue  de  l’Afrique  Fran^aise,  V, 
1887,  pp.  384  and  394,  and  by  Victor  Guerin,  Voyage 
Archeologique  dans  la  Regence,  I,  p.  109  ff,  and  II,  p.  321. 
The  inscription  is  in  C.  I.  L.,  VIII,  10510.  Schoff,  The 


183 


THE  UNIVERSITY  MUSEUM 


Periplus  of  Hanno,  p.  29.  S.  B.  L(uce),  Museum  Journal, 
VII,  1916,  pp.  20-22,  Fig.  12.  A.  J.  A.,  XX,  1916,  p.  497. 

No.  52.  A Roman  mosaic  pavement,  said  to  have  been  found  at 
Carthage,  showing  great  excellence  of  technical  skill,  but 
with  a decorative,  rather  than  an  artistic  design,  a sure 
proof  that  it  is  to  be  regarded  as  of  a later  date  than  No. 
51.  The  design  is  of  a conventional  nature,  with  various 
stereotyped  patterns  combined  together,  forming  a design 
much  like  that  of  a rug,  so  that  it  is  probable  that  these 
pavements  often  were  inspired  by  rug  patterns.  In  the 
blending  of  colors,  and  the  treatment  of  light  and  shade, 
much  taste  and  ability  is  shown.  This  should  be  dated 
in  the  second  century  A.  D. 

Accession  No.  MS4015.  Dimensions,  3.435  by  2.51 
m.  S.  B.  L(uce),  Museum  Journal,  VII,  1916,  pp.  23-24, 
and  Fig.  13.  A.  J.  A.,  XX,  1916,  p.  497. 


184 


GREEK.  ETRUSCAN  AND  ROMAN  SCULPTURE 
AT  PRESENT  NOT  ON  EXHIBITION. 


Nos.  3,  4,  5,  6 and  7 are  Etruscan  sarcophagi,  which  are  at  present  in 
storage,  on  account  of  lack  of  room  in  which  to  exhibit 
them.  Three  of  these  sarcophagi  are  of  men,  the  other  two 
of  women.  They  are  made  of  nenfro,  and  on  the  lid,  in 
each  case,  is  the  reclining  portrait  of  the  occupant.  The 
men  recline  at  full  length;  the  women  sit  up,  leaning  on 
their  left  elbows  as  they  recline.  Many  of  these  sar- 
cophagi bear  Etruscan  inscriptions.  They  all  date  in  the 
fifth  century  B.  C. 

Furtwangler,  Sitzungsberichte  der  Akademie  zu  Mun- 
chen,  1905,  p.  255,  No.  6. 

No.  3.  Sarcophagus  of  a man.  He  is  life  size  or  a little  over,  and 
reclines  on  a couch,  with  his  head  resting  on  a pillow,  and 
a rest  at  the  other  end  for  his  feet,  of  which  the  right  foot 
appears.  He  is  draped  in  a himation,  and  wears  a heavy 
necklace  around  his  neck.  His  right  arm  and  breast  are 
bare.  On  his  head  is  a wreath.  Found  at  Civita  Musarna 
near  Viterbo. 

Accession  No.  MS3488.  Height,  1.088  m.;  length, 
1.932  m.;  width,  58.5  cm. 

No.  4.  Sarcophagus  of  a man,  similar  to  No.  3,  but  larger.  The 
right  hand  is  broken  off.  The  drapery  and  pose  are 
identical  with  the  previous  specimen.  Found  at  Civita 
M usarna. 

Accession  No.  MS3492.  Height,  1.157  m.;  length, 
2.124  m.;  width,  63.5  cm. 

No.  5.  Sarcophagus  of  a man.  He  is  draped  as  in  the  two  preceding 
examples,  but  wears  no  necklace.  In  his  hand  is  a patera, 
with  a boss  in  the  center.  He  is  much  over  life  size. 
Traces  of  color  remain,  in  the  form  of  red  bands,  at  the 
lower  end  of  the  sarcophagus,  and  the  painted  inscription 


on  the  pillow.  On  the  front 


3 

Til  XX-Tiq-A- 

edge  of  the  lid  is  carved  the  same  inscription 

’:W IX  XJiqAq^ZB  10-3^0  the  letters  of  which  are  filled  in 

with  red  paint.  Found  at  Civita  Musarna. 


185 


THE  UNIVERSITY  MUSEUM 


Accession  No.  MS3489.  Height,  1.70  m. ; length, 
2.176  cm.;  width,  62  cm.  Torp  and  Herbig,  Sitzungs- 
berichte  der  Akademie  zu  Munchen,  1904,  p.  506  (inscrip- 
tion). Notizie  degli  Scavi,  1903,  p.  119  (inscription). 
Bates,  Transactions,  Dept,  of  Archaeology,  University  of 
Pennsylvania,  Vol.  I,  Part  III,  1905,  p.  166,  Nos.  3 and  4 
(inscriptions). 

No.  6.  Sarcophagus  of  a woman.  She  rests  on  her  couch,  leaning 
on  her  left  elbow,  so  that  the  upper  part  of  her  body  is  more 
erect  than  in  the  case  of  the  men.  She  wears  a chiton  and 
himation,  which  are  rendered  with  heavy  lifeless  folds. 
Her  right  arm  is  bare.  Her  right  foot,  clad  in  a sandal, 
sticks  out  at  the  end  of  the  lid,  from  among  the  draperies. 
She  wears  her  himation  veil  fashion  over  the  back  of  her 
head,  concealing  her  hair.  Along  the  front  edge  of 
the  lid  is  cut  the  inscription,  nearly  entirely  effaced, 

T-  like  all  the  sarcophagi,  was 
found  at  Civita  Musarna. 

Accession  No.  MS3490.  Height,  1.324  m.;  length, 
2. 123  m. ; width,  62  cm.  A photograph  of  this  sarcophagus 
is  published  in  Art  and  Archaeology,  VI,  1917,  p.  161  (to 
illustrate  a poem  by  Harvey  M.  Watts).  For  inscription, 
see  Bates,  Transactions  Dept,  of  Archaeology,  University 
of  Pennsylvania,  Vol.  I,  Part  III,  1905,  p.  166,  No.  5. 

No.  7.  Sarcophagus  of  a woman,  from  Civita  Musarna.  This  is 
similar  to  No.  6,  but  not  so  large  nor  so  carefully  done. 
The  left  cheek  is  disfigured  by  having  a hole  cut  in  it. 
The  drapery  and  pose  is  the  same  as  in  No.  6.  On  one 
end  of  the  sarcophagus  is  cut  clearly  and  deeply,  in  letters 
from  two  to  five  centimetres  high,  the  following  inscription: 

Accession  No.  MS3491.  Height,  1.32  m.;  length, 
1.99  m.;  width,  66  cm.  Bates,  Transactions  Dept,  of 
Archaeology,  University  of  Pennsylvania,  Vol.  I,  Part  III, 
1905,  pp.  165-66,  No.  2,  and  PI.  XX  (for  inscription). 

No.  8.  Head  of  a woman  in  tufa,  found  at  Toscanella,  in  a tomb, 
identified  from  the  objects  found  in  it  as  the  tomb  of  a 
woman.  It  is  therefore  possible  that  this  head  is  intended 


186 


MEDITERRANEAN  SECTION 


to  be  a portrait  of  the  deceased.  It  is  of  typical  Etruscan 
workmanship,  and,  from  the  evidence  afforded  by  the 
objects  found  with  it,  can  be  put  in  the  fourth  century  B.  C. 
The  woman  wears  a veil  over  her  head,  which  also  goes 
over  her  shoulders.  Under  that  she  wears  a chiton.  This 
head  is  somewhat  over  life  size,  and  very  well  preserved. 

Accession  No.  MS  1428.  Height,  42  cm. 

No.  9.  Etruscan  urn  of  marble,  in  form  resembling  the  sarcophagi. 

Said  to  have  come  from  Volterra,  but  this  is  most  uncertain. 
On  the  lid  is  the  reclining  figure  of  a man,  draped  in  a 
chiton  and  himation,  and  wearing  a heavy  necklace.  He 
wears  a cap  on  his  head,  fastened  beneath  the  chin  by 
straps.  On  the  fourth  finger  of  his  left  hand  is  a signet 
ring,  and  in  his  right  hand  is  a patera  with  a boss  in  the 
centre.  On  the  lower  edge  of  the  lid  runs  the  following 
inscription : 

On  the  front  of  the  urn  is  a relief  which  has  been 
interpreted  to  represent  the  murder  of  Aegisthus.  He  sits 
on  an  altar  in  the  centre,  nude.  From  the  left  Orestes 
attacks  him  with  a sword.  His  chlamys  flies  in  the  air 
over  his  shoulders,  leaving  the  body  nude.  He  also  wears 
a petasos  on  his  head.  At  the  extreme  left  is  a draped 
female  figure,  Electra,  with  a sword  in  her  right  hand.  At 
the  right  of  the  altar,  two  men  are  fighting,  probably 
Pylades  and  one  of  the  attendants  of  Aegisthus.  Fourth 
century  B.  C. 

Accession  No.  MS2458.  Height,  with  lid,  73.5  cm.; 
length,  62  cm.;  width,  31  cm.  Fabretti,  Corpus  Inscrip- 
tionum  Italicarum,  694.  Pauli,  Corpus  Inscriptionum 
Etruscarum,  I,  1192.  Bates,  Transactions  Dept,  of 
Archaeology,  University  of  Pennsylvania,  I,  Part  III,  1905, 
pp.  166-67,  No.  6.  (Fabretti  claims  that  this  urn  comes 
from  Chiusi,  not  Volterra.) 

No.  10.  Etruscan  urn  of  terracotta,  similar  to  No.  9.  On  the  lid 
reclines  a man,  dressed  in  a himation,  leaving  his  body  nude. 
In  his  right  hand  he  holds  a patera,  with  a boss  in  the 
centre.  On  the  urn  is  a scene  of  two  warriors  in  combat. 
On  either  side  of  the  central  group  is  a female  figure  (a 


187 


THE  UNIVERSITY  MUSEUM 


genius?)  with  a torch.  The  provenance  is  unknown. 
Fourth  century  B.  C. 

Accession  No.  MS354.  Height,  with  lid,  56.2  cm.; 
length,  48  cm.;  width,  24.4  cm. 

No.  11.  Etruscan  urn  of  terracotta.  On  the  lid  reclines  a woman, 
closely  draped  in  a himation.  Traces  remain  of  polychrome 
decoration.  On  the  urn  is  a scene  of  two  warriors  fighting 
over  the  body  of  a third,  while  from  the  right,  a fourth 
warrior  rushes  to  join  in  the  fray.  The  provenance  is 
unknown.  Fourth  century  B.  C. 

Accession  No.  MS2157.  Height,  with  lid,  37  cm.; 
length,  36.4  cm.;  width,  19.5  cm. 

No.  12.  Etruscan  urn  of  terracotta.  On  the  lid  reclines  a woman, 
closely  draped  in  a himation.  The  lid  is  broken  at  one 
corner.  The  front  of  the  urn  has  a design  of  combat, 
exactly  the  same  as  in  No.  11.  The  provenance  of  this 
urn  is  unknown,  but  it  is  obvious  that  it  came  from  the 
same  place  as  No.  1 1,  and  is  of  the  same  period. 

Accession  No.  MS2158.  Height,  with  lid,  32.8  cm.; 
length,  33.8  cm.;  width,  19.9  cm. 

No.  13.  Etruscan  urn  of  terracotta.  The  lid  which  goes  with  this 
urn  does  not  belong  to  it.  Both  parts  are  said  to  come 
from  Montepulciano.  The  lid  bears  on  it  the  reclining 
figure  of  a woman,  very  crudely  executed.  On  the  lid 
was  scratched  before  firing,  the  inscription  L-  A R Qv/\  E V E. 

The  urn  is  painted  white,  and  has  no  decoration, 
except  the  design  of  a couch  in  relief,  with  a candelabrum 
at  each  end,  and,  painted  in  red,  the  inscription 

I h itajvia 

vlAH  Usll  V 

Accession  No.  MS2159.  Height  of  urn,  17.5  cm.; 
of  lid,  9 cm.;  length  of  urn,  26.5  cm.;  width,  13.7  cm. 
Corpus  Inscriptionum  Etruscarum  1,705  (inscription  on 
urn),  1,925  (inscription  on  lid).  Fabretti,  Supplement  to 
Corpus  Inscriptionum  Italicarum,  1,161  (inscription  on 
lid).  Bates,  Transactions,  Dept,  of  Archaeology,  Uni- 
versity of  Pennsylvania,  I,  Part  III,  1905,  p.  167,  Nos.  7 
and  8,  and  PI.  XXI. 

No.  15.  Small  male  head  of  marble,  about  one  half  life  size.  The 


188 


MEDI T E R R A N E A N S ECT ION 


face  is  bearded,  and  the  hair  is  very  thick,  and  crowned 
with  a wreath  of  ivy  leaves.  It  has  been  suggested  that 
the  head  is  of  Herakles,  but  the  garland  suggests  the 
mature  bearded  Dionysos.  This  is  a Roman  copy  of  a 
late  Greek  original.  Its  provenance  is  unknown. 

Accession  No.  MS4031.  Height,  ca.  20  cm. 

No.  23.  Head  of  a woman,  from  the  Lake  of  Nemi,  a work  of  the 
Graeco-Roman  period,  about  the  first  century  B.  C.  This 
head  is  about  one  third  life  size.  The  hair  is  parted  in 
the  middle,  and  done  in  a knot  at  the  back,  while  ringlets 
fall  along  the  neck. 

Accession  No.  MS3467.  Height,  22.4  cm. 

No.  24.  Head  of  a woman,  about  three  times  life  size,  from  the 
Lake  of  Nemi.  The  back  of  the  head  is  lost,  and  was 
made  of  a separate  piece  of  marble,  fastened  to  the  front 
by  a dowel,  the  hole  for  which  can  be  seen  at  the  back. 
The  workmanship  is  mechanical  and  poor.  The  head 
looks  like  a copy  of  a fourth  century  Greek  original,  and, 
on  the  analogy  of  the  other  specimens  from  this  site,  is 
to  be  dated  in  the  neighborhood  of  the  first  century  B.  G. 

Accession  No.  MS3483.  Height,  47.7  cm. 

No.  25.  Bust  of  a man  of  middle  age.  He  wears  a long  pointed 
beard,  and  long  hair.  This  bust  is  about  twice  life  size, 
and  is  probably  a Roman  copy  cf  a Hellenistic  original. 
Found  at  the  Lake  of  Nemi. 

Accession  No.  MS3475.  Height,  ca.  50  cm. 

No.  56.  Head  of  a man,  bearded,  with  close  cropped  hair,  said  to 
have  been  found  at  Rumeli  Hissar,  on  the  European 
shore  of  the  Bosporus,  near  Constantinople.  This  head 
is  of  a pinkish  stone,  of  a rather  coarse  texture,  and  is  of 
life  size,  or  a little  over.  It  belongs  in  the  late  Roman 
period,  and  has  been  thought  to  be  the  head  of  a gladiator. 
On  top  of  the  head  is  a dowel,  still  in  situ,  the  purpose  of 
which  is  not  clear.  It  may  be  that  the  head  formed  part 
of  a design  in  very  high  relief,  or  was  part  of  a sculpture 
that  was  inserted  in  a niche,  or  something  of  the  kind, 
and  was  held  in  place  both  at  the  top  and  bottom  by 
dowels. 

Accession  No.  MS216.  Height,  approximately  3 1 cm. 

No.  57.  Marble  head  of  a woman,  probably  a Roman  copy  of  a 


1S9 


THE  UNIVERSITY  MUSEUM 


Hellenistic  original,  of  life  size.  The  hair  is  dressed  much 
as  in  the  Aphrodite  of  Melos,  suggesting  that  this,  too,  is 
the  head  of  an  Aphrodite.  There  is  a diadem  in  the  hair. 
Provenance  unknown. 

Accession  No.  MS4033. 

No.  58.  Head  of  a woman,  said  to  have  been  found  in  the  Plain  of 
Troy,  of  about  three  times  life  size.  This  is,  in  spite  of 
its  alleged  provenance,  a Roman  copy  of  a Greek  original, 
and  is  mechanical  and  poor  in  workmanship.  The  body 
is  said  to  have  been  found  at  the  same  time  as  the  head, 
but,  as  the  whole  statue  could  not  be  removed  from  the 
site  by  the  peasants  who  found  it,  the  head  was  cut  off, 
and  the  torso  was  buried  again.  The  torso  is  said  later 
to  have  been  sold  to  the  Berlin  Museum. 

Accession  No.  MS213.  Height,  ca.  40  cm. 

No.  59.  A marble  amphora,  with  no  decoration,  found  near  the  Lake 
of  Nemi.  The  handles  have  been  restored.  On  the  vase 
is  the  inscription  CHIO  : D : D.  It  was  found  at  the 
same  time  and  in  the  same  place  with  the  vases  listed  under 
the  numbers  36-40. 

Accession  No.  MS3447.  Height,  73  cm.  Notizie 
degli  Scavi,  1895,  p.  429,  No.  8.  Furtwangler,  Sitzungs- 
berichte  der  Akademie  zu  Munchen,  1905,  p.  260,  No.  25. 

No.  60.  Fragment  of  a relief,  said  to  have  been  found  near  the 
Lake  of  Nemi.  At  the  left,  a male  figure,  nude,  with  a 
petasos  on  his  head,  and  a sword  in  his  right  hand,  faces 
the  right,  attacking  a crocodile,  beside  which  is  another 
nude  male  figure,  of  wThom  only  the  upper  part  appears. 
The  rest  of  the  relief  space  is  filled  with  a decorative  design 
of  a large  vine  and  at  the  right,  a bunch  of  grapes. 

Accession  No.  MS3460.  Length,  57  cm.;  height, 
12  cm. 

No.  61.  Torso  of  a woman,  about  one  quarter  life  size,  found  near 
the  Lake  of  Nemi.  This  torso  is  draped  in  a garment 
resembling  a chiton,  which  is  held  up  below  the  breasts 
by  a girdle  of  heavy  drapery  tied  in  a knot  in  front.  The 
draperies  extend  to  the  knees,  where  dowel  holes  exist  for 
fastening  the  legs  to  the  torso.  Likewise,  at  the  shoulder, 
there  is  another  clean  break  with  a dowel  hole,  for  attach- 
ing the  neck  and  head,  with  its  elaborate  headdress.  At 


MEDITERRANEAN  SECTION 

the  sides  are  breaks  for  the  arms.  This  torso  is  probably 
to  be  regarded  as  part  of  a statuette  of  Diana.  It  is  of 
Graeco-Roman  workmanship,  of  the  first  century  B.  C. 

Accession  No.  MS3479.  Height,  38  cm.  Furt- 
wangler,  Sitzungsberichte  der  Akademie  zu  Munchen, 
1905,  p.  261,  No.  33. 

No.  62.  Torso  of  a boy,  from  the  vicinity  of  the  Lake  of  Nemi,  of 
about  one  half  life  size.  The  left  leg  has  been  mended. 
The  torso  is  nude;  the  left  leg  is  bent,  and  rests  on  a rock. 
The  right  arm  is  lost  below  the  elbow,  the  lost  part  having 
been  of  a separate  piece  of  stone  and  attached  by  a dowel. 
The  left  arm  was  fastened  to  the  torso  at  the  shoulder. 
The  head  was  originally  carved  from  the  same  block  of 
marble  as  the  torso,  but  has  broken  off.  This  torso  is  of 
delicate  modeling,  showing  a boy  of  immature  years. 
It  also  should  be  dated  at  about  the  first  century  B.  C. 

Accession  No.  MS3465.  Height,  99  cm.  Furt- 
wangler,  Sitzungsberichte  der  Akademie  zu  Munchen, 
1905,  p.  261,  No.  29. 

No.  63.  Torso  of  a boy,  found  near  the  Lake  of  Nemi,  of  about  one 
half  life  size.  It  is  nude.  The  right  and  left  feet  are  gone, 
and  both  arms.  These  parts  were  fastened  to  the  torso 
with  dowels.  The  head,  which  is  also  lost,  was  carved 
from  the  same  block  of  marble.  The  right  arm  was  raised 
above  the  head,  the  left  hung  at  the  side.  The  figure 
leans  against  a tree  trunk,  rudely  carved.  In  this  case, 
as  well  as  in  No.  62,  a very  young  boy  is  represented,  the 
modeling  being  quite  soft  and  tender.  It  is  of  the  same 
period  as  No.  62. 

Accession  No.  MS3466.  Height,  90.5  cm.  Furt- 
wangler,  Sitzungsberichte  der  Akademie  zu  Munchen, 
1905,  p.  261,  No.  31. 

No.  64.  Torso  of  a boy,  found  near  the  Lake  of  Nemi,  about  one  fourth 
life  size.  This  statuette  was  originally  all  carved  from  a 
single  block  of  marble,  the  missing  parts  having  broken 
off.  They  are  the  head,  arms  and  right  foot.  The  torso 
is  nude;  the  left  leg  is  crossed  over  the  right.  The  marble 
bears  traces  of  corrosion. 

Accession  No.  MS3481.  Height,  60  cm.  Furt- 
wangler,  Sitzungsberichte  der  Akademie  zu  Munchen, 


191 


THE  UNIVERSITY  MUSEUM 


1905,  p.  261,  No.  30  (erroneously  says  that  there  is  a 
support  of  a tree  trunk  for  this  torso). 

No.  65.  Another  torso  of  a boy,  from  the  neighborhood  of  the  Lake  of 
Nemi,  of  about  one  third  life  size.  The  upper  part  of  the 
body  is  missing,  the  extant  part  beginning  just  below  the 
breast,  and  extending  to  the  feet.  The  lost  part  was  made 
of  a separate  piece  of  marble,  and  attached  by  a dowel. 
The  right  leg  has  been  mended;  the  left  leg  was  bent  and 
probably  crossed  behind  the  right.  The  left  foot  and 
lower  part  of  the  left  leg  are  missing.  The  weight  of  the 
body  is  placed  on  the  right  foot.  The  modeling  of  this 
torso  is  especially  pleasing,  being  of  a youth  of  immature 
years,  with  the  muscles  and  other  details  rendered  in  a 
very  tender  and  almost  effeminate  manner.  The  figure 
leans  against  a stump,  on  which  the  drapery  of  the  figure 
has  been  thrown.  This  is  an  example  of  workmanship  of 
the  Graeco-Roman  period,  of  the  first  century  B.  C. 

Accession  No.  MS3457.  Height,  as  preserved, 
63.5  cm. 

No.  66.  A torso  of  Aphrodite,  somewhat  over  the  normal  life  size. 

It  is  of  a coarse  white  marble,  and  was  found  in  excava- 
tions at  Teano,  at  the  same  time  with  the  colossal  mask 
of  a river  god,  No.  50.  This  torso  is  nude,  and  of  the 
Capitoline  type,  the  right  hand  held  over  the  bosom, 
the  left  hand  held  further  down.  The  head,  right  hand 
and  forearm,  left  hand  and  part  of  the  left  forearm,  and 
both  feet  are  missing.  The  feet  and  base  of  the  statue 
were  carved  from  a different  block  of  stone;  the  legs  are 
finished  in  knobs,  which  fitted  into  sockets  in  this  base. 
Below  the  breasts,  and  between  them,  is  a break,  showing 
that  the  right  forearm  was  carved  away  from  the  body 
at  this  point,  while  on  the  left  breast  are  two  smaller 
breaks,  showing  the  position  of  the  right  hand.  A similar 
small  projection  appears  on  the  right  thigh,  showing  the 
position  of  the  left  hand  as  it  was  originally  carved. 
Besides  the  arms  and  hands,  the  head  was  also  carved  from 
the  same  block  of  marble,  but  it  has  been  broken  off.  At 
the  right,  as  in  the  Capitoline  Venus,  is  a support  in  the 
form  of  a vase,  showing  that  the  goddess  is  represented  as 
at  her  bath.  Over  the  vase  is  cast  her  drapery,  treated 


192 


MEDITERRANEAN  SECTION 


in  heavy,  unskilful,  folds.  The  modeling,  though  fairly 
convincing,  is  not  successful.  The  goddess  is  represented 
as  too  mature,  and  the  details  are  rendered  in  a rather 
coarse  manner.  This  specimen  is,  therefore,  an  unimpor- 
tant replica  of  a very  common  type  of  Aphrodite  statue. 

Accession  No.  MS5671.  Height,  1.425  m.  Gabrici, 
Notizie  degli  Scavi,  1908,  pp.  399-416,  and  esp.  p.  409, 
and  p.  41 1,  Fig.  10.  A.  J.  A.,  XIV,  1910,  p.  128. 

No.  67.  A statuette  of  a hermaphrodite,  the  upper  part  of  his  body 
draped,  the  lower  part  exposed.  He  is  seated  on  a rock, 
and  is  less  than  one  fifth  life  size.  Said  to  have  been 
found  in  Smyrna.  The  head,  left  hand,  and  feet  are 
missing. 

Height,  ca.  35  cm.  Reinach,  Repertoire  de  la 
Statuaire,  Vol.  II,  Part  II,  p.  791,  No.  8. 


193 


REPRODUCTIONS  OF  FRESCOES. 

These  frescoes,  the  originals  of  which  were  found  at  Knossos 
in  Crete,  Tiryns  in  Greece,  and  the  site  called  Phylakopi  in  the  island 
of  Melos,  are  at  present  in  the  Museums  of  Candia  and  Athens. 
They  were  painted  in  the  period  between  1500  and  1200  B.  C.;  the 
best  ones  are  the  earliest  in  date. 

No.  1.  A fresco  representing  two  slaves,  each  carrying  an  enor- 
mous pitcher,  filled  either  with  water  or  with  wine.  This 
was  found  at  the  palace  of  Knossos,  and  dates  at  about 
1500  B.  C.  The  original  is  in  Candia. 

No.  2.  This  is  perhaps  the  most  interesting  of  all  the  frescoes  here 
reproduced,  as  it  gives  us  a hint  of  the  origin  of  that  most 
famous  of  Greek  myths, — the  story  of  Theseus  and  the 
Minotaur.  It  shows  two  girls  and  a youth  vaulting  over 
a maddened  bull.  The  flesh  of  the  girls  is  shown  in  white, 
that  of  the  youth  in  red.  The  bull  is  charging  to  the  left, 
while  the  boy  is  turning  somersaults  over  his  back.  Behind 
the  bull  stands  a girl,  with  outstretched  arms,  to  catch  the 
boy  as  he  finishes,  while  in  front  of  the  animal,  a second 
girl  is  trying  to  catch  him  by  the  horns.  This  fresco  also 
was  found  at  Knossos,  and  is  in  the  Museum  in  Candia. 
No.  3.  A fresco  of  a slave,  bearing  in  his  arms  an  enormous  filler 
of  the  shape  of  the  boxer  vase  in  Alcove  C,  Case  IV, 
No.  15.  This  fresco  stood  at  the  side  entrance  to  the 
palace  of  Knossos,  and  like  the  others,  was  painted  about 
1500  B.  C.  This  is  usually  called  the  cup  bearer  fresco. 
It  also  is  in  the  Museum  of  Candia. 

No.  4.  This  fresco,  from  the  Queen’s  apartments  at  Knossos,  is 
one  of  the  best  known  of  them  all.  The  design  of  dolphins 
is  very  well  rendered.  The  same  date  can  be  assigned  to 
this  as  to  the  others.  It  also  is  in  Candia. 

No.  5.  This  fresco  is  to  be  thought  of  as  the  portrait  of  a chieftain 
or  prince  of  the  period.  Unlike  most  of  the  wall  paintings 
from  Knossos,  it  is  modeled  in  low  relief,  and  then  painted. 
It  was  found  at  Knossos,  and  is  in  Candia. 

No.  6.  Profile  head  of  a bull.  In  this  specimen,  the  same  technique 
of  low  relief  is  employed  that  we  have  already  found  in 
No.  5.  It  is  in  Candia. 


194 


MEDITERRANEAN  SECTION 


No.  7.  This  is  one  of  the  most  interesting  of  any  of  these  prehistoric 
wall  paintings.  It  is  called  a miniature  fresco  as  it 
represents  figures  in  miniature  size.  It  shows  very  well 
the  modern  character  of  the  life  of  these  early  peoples, 
who  are  shown  attending  some  spectacle.  This  fresco 
came  from  Knossos;  the  original  is  in  the  Museum  of 
Candia. 

This  reproduction  is  illustrated  by  Holland,  A.  J.  A., 
XXI.  1917,  p.  1 19,  Fig.  1. 

No.  8.  This  fresco,  though  carelessly  drawn,  is  interesting,  as  it 
shows  one  form  of  costume  worn  by  the  girls  of  this  period. 
Here  the  bodice  is  looped  up  behind  in  a knot,  while  across 
the  bosom  is  an  open-work  pattern  of  red  and  blue,  beneath 
which  is  shown  the  white  color  of  the  flesh.  From  Knossos; 
the  original  is  in  Candia. 

No.  9.  Fragment  of  a fresco  from  Tiryns,  showing  two  spearmen. 

This  piece  should  be  studied  in  connection  with  the  frag- 
ments from  the  boar  hunt  fresco  to  be  described  a little 
later.  It  dates  about  1300  B.  C.  Original  in  National 
Museum,  Athens. 

Nos.  10,  11,  and  12.  Decorative  frescoes  from  Tiryns.  These 
pictures  are  patterns  rather  than  illustrations.  The 
effect,  however,  which  they  produce  is  very  pleasing.  The 
originals  are  in  the  National  Museum  at  Athens. 

No.  13.  This  fresco,  which  comes  from  Tiryns,  is  one  of  the  most 
important  that  has  come  to  us  from  that  site.  It  portrays 
a lady  carrying  a casket  of  jewels.  In  this  picture,  better 
than  anywhere,  save  the  Snake  Goddess  statuettes  (Alcove 
C,  Case  III),  we  can  see  what  the  costume  of  the  women  in 
those  prehistoric  times  really  looked  like.  It  is  interesting 
to  know  that  an  ivory  casket,  in  every  respect  the  counter- 
part of  that  in  this  picture,  was  found  in  a beehive  tomb 
at  Menidi,  just  outside  of  Athens,  and  is  now  in  the 
National  Museum  in  the  Greek  capital.  The  original  of 
this  fresco  is  also  in  Athens. 

Nos.  14,  15,  16,  and  17.  These  are  fragments  from  the  same  fresco, 
which  originally  represented  a boar  hunt.  It  also  came 
from  Tiryns.  In  No.  14,  we  see  two  people  in  a chariot 
starting  out  for  the  hunt;  No.  15  gives  us  a spearman  like 
the  two  in  No.  9;  No.  16  shows  another  huntsman,  with 


195 


THE  UNIVERSITY  MUSEUM 


a greyhound  in  leash,  and  a horse;  and,  finally,  in  No.  17, 
we  have  the  killing  of  the  boar,  who  runs  his  head  against 
the  spears  of  the  hunters,  while  the  hounds  pin  him  to  the 
earth  from  behind.  These  frescoes  are  of  a distinctly 
later  date  than  those  of  Knossos,  as  will  be  seen  from  the 
great  difference  in  the  costumes  worn.  It  has  been  sug- 
gested that  this  boar  hunt  may  have  a semireligious  sig- 
nificance, and  that  from  such  sports,  the  legend  of  the 
Calydonian  boar  hunt  may  be  taken.  The  originals  of 
these  reproductions  are  also  in  Athens. 

No.  18.  This  is  a small,  but  exquisitely  beautiful  fragment  of  a 
fresco  of  flying  fish  at  play,  swimming  in  and  out  among 
the  seaweed.  This  picture,  though  probably  the  work  of  a 
Cretan  artist,  was  found  at  the  ancient  city  of  Phylakopi, 
on  the  Island  of  Melos,  and  the  original  is  in  the  National 
Museum  at  Athens. 

The  reproductions  of  frescoes  from  Crete  are  described,  and  the 
more  important  ones  published,  by  E.  H.  H(all)  Museum  Journal, 
V,  1914,  pp.  155-162,  and  Figs.  84-86;  and  the  frescoes  from  Tiryns 
are  described  and  published  by  E.  H.  H(all),  ibid.,  231-235,  and  Figs. 
117-120.  See  also  Robinson,  Art  and  Archaeology,  V,  1917,  pp.  221- 
234,  and  Holland,  A.  J.  A.,  XXI,  1917,  p.  119,  Fig.  1. 


196 


REPRODUCTIONS  OF  CRETAN  AND 
MYCENAEAN  METAL  WORK. 


E.  H.  H(all)  Museum  Journal,  V,  1914,  pp.  145-152,  Figs.  73- 

81.  See  also  Robinson,  Art  and  Archaeology,  V,  1917,  pp.  221-234. 
In  Alcove  C: 

No.  1.  Rhyton,  or  drinking  cup,  in  the  form  of  a bull’s  head.  The 
original  of  this  was  found  in  the  Little  Palace  at  Knos- 
sos,  and  is  in  the  Museum  in  Candia.  Only  half  of  the  vase 
was  found;  the  rest  was  restored.  It  is  of  steatite,  with 
horns  of  gold,  and  is  a most  remarkable  piece  of  modeling, 
and  one  of  which  any  sculptor  might  well  be  proud. 

E.  H.  H(all)  loc.  cit.,  p.  164,  Fig.  88. 

No.  2.  Copy  of  a gold  rhyton  in  the  form  of  the  head  of  a lion,  found 
at  Mycenae  and  now  in  the  National  Museum  in  Athens. 
This  dates  in  the  Third  Late  Minoan  period,  from  1300  to 
1100  B.  C. 

No.  3.  Copy  of  another  gold  rhyton  from  Mycenae,  and  now  in 
Athens,  in  the  form  of  a bull's  head.  This  dates  in  the 
same  epoch  as  No.  2.  The  double  axe  is  wrongly  restored. 


REPRODUCTIONS  OF  SWORDS  AND  DAGGERS  FROM 
MYCEN.E  AND  OTHER  SITES. 

E.  H.  H(all),  loc.  cit.,  Figs.  73-76. 

Case  I. 

These  swords  and  daggers,  with  the  exception  of  the  one  num- 
bered 13,  are  copies  of  originals  found  at  Mycenae  by  the  celebrated 
Dr.  Schliemann,  and  which  are  now  in  the  National  Museum  in 
Athens.  They  were  made  in  an  age  of  culture  lasting  between  1400 
and  1000  B.  C.  It  should  be  noticed  that  the  swords  are  very  long, 
much  longer  than  those  used  in  Classical  times.  They  were  intended 
for  thrusting;  for  the  bronze  blade  could  not  be  tempered  to  take  a 
cutting  edge.  The  daggers  are  of  the  same  period  as  the  swords,  and 
are  of  a good  length  for  such  weapons.  Especial  care  is  taken  to 
beautify  the  swords,  and  particularly  the  daggers,  by  rich  hilts  of 


197 


THE  UNIVERSITY  MUSEUM 


gold,  ivory,  and  semi-precious  stones,  and  by  ornamenting  the  blades 
of  the  swords  by  means  of  embossing  them,  and  those  of  the  daggers 
by  elaborate  and  beautiful  inlay  work  in  silver  and  gold.  The  author 
of  one  of  the  most  recent  books  on  the  archaeology  of  these  early 
peoples,  in  speaking  of  this  marvellous  art,  says  with  truth,  “These 
craftsmen  could  not  only  carve,  they  could  paint  in  metal!”  H.  R. 
Hall,  /Egean,  Archaeology,  p.  57.) 

No.  1 . A sword  with  a hilt  of  gold,  decorated  with  a wickerwork 
design,  and  the  centre  of  the  blade  ribbed. 

No.  2.  A sword  with  a hilt  of  gold  and  ebony,  and  an  embossed 
design  of  running  wild  asses  on  the  blade. 

No.  5.  A sword  with  a hilt  of  wood,  topped  with  a pommel  of  porce- 
lain (in  the  original  it  was  probably  alabaster),  and  on  the 
blade  a design  of  spirals  and  patterns  modeled  after  the 
shields  in  use  in  that  period. 

No.  4.  A sword  with  a plain  blade,  and  a hilt  of  gold,  with  an 
engraved  design  of  spirals  and  scrolls. 

No.  5.  A sword  with  a plain  blade,  and  a hilt  of  ivory  and  gold. 

The  pommel,  which  is  of  gold,  has  a fine  relief  design  of 
lions. 

No.  6.  A sword  with  a blade  partly  engraved  with  a device  of  scrolls 
and  spirals,  and  a hilt  of  gold  and  ivory,  with  a pommel  of 
porcelain. 

No.  7.  A sword  with  a blade  decorated  with  raised  lines  running 
down  the  centre,  and  a hilt  of  gold,  engraved  with  scrolls 
and  spirals. 

No.  8.  A short  sword,  or  long  dagger,  with  a hilt  of  gold,  elaborately 
ornamented,  and  griffins  in  gold  inlaid  on  the  blade.  This 
specimen  reproduces  exactly  the  exact  condition  in  which 
the  originals  were  found,  while  the  other  reproductions 
show  how  the  originals  looked  when  they  were  new. 

No.  9.  A dagger  with  a raised  design  of  lilies  on  the  gold  hilt,  and 
lilies  inlaid  in  the  blade. 

No.  10.  A dagger  with  a hilt  of  gold,  ornamented  with  an  engraved 
decoration  of  running  spirals,  and  on  the  blade  a beautiful 
design,  inlaid  in  gold  and  silver,  of  cats  chasing  ducks 
through  a thicket  of  papyrus. 

No.  11.  A dagger  with  a hilt  of  gold,  with  a pommel  ornamented 


198 


MEDITERRANEAN  SECTION 


with  fighting  lions  in  relief,  and  on  the  blade,  running 
lions  inset  in  gold. 

No.  12.  A dagger  with  a hilt  exactly  like  No.  11,  and,  on  one  side 
of  the  blade,  a beautiful  inlaid  picture  of  a lion  hunt  in 
silver  and  gold,  and,  on  the  other,  a lion  attacking  a herd 
of  deer. 

No.  13.  This  specimen  is  of  especial  interest,  because  the  original  is 
in  this  country.  It  was  found  in  the  famous  Dictacan 
Cave,  the  legendary  birthplace  of  Zeus,  and  is  now  in  the 
possession  of  a private  collector  in  Boston.  The  engraved 
design  is  most  interesting,  not  only  because  such  work  is 
most  unusual  in  the  art  of  the  period  in  which  it  was  made, 
but  also  on  account  of  the  nature  of  the  subjects  of  the 
designs  themselves.  They  are  on  one  side  a boar  hunt, 
and  on  the  other  a bull  fight,  and  are  new  in  Cretan  art 
of  the  period.  The  original  belongs  probably  in  the 
Third  Middle  or  First  Late  Minoan  period,  2000-1500 
B.  C. 

E.  H.  H(all)  Museum  Journal,  V,  1914,  pp.  169-172, 
Fig.  91. 

REPRODUCTIONS  OF  METAL  WORK,  PRINCIPALLY 

FROM  MYCEN/E. 

E.  H.  H(all),  loc.  cit.,  Figs.  77-81. 

Case  II. 

This  case  is  devoted  to  reproductions  of  gold  ornaments  and 
gold  and  silver  drinking  cups,  found  principally  at  Mycenae.  These 
are,  for  the  most  part,  of  the  First  Late  Minoan  period,  between 
1700  and  1500  B.  C.,  and  the  originals  are  now  in  the  National 
Museum  in  Athens. 

No.  1.  Two  masks,  found  at  Mycenae  in  Schliemann’s  excavations, 
used  to  cover  the  faces  of  the  persons  in  whose  tombs  they 
were  found.  They  may  belong  in  the  First  Late  Minoan 
period,  from  1700  to  1500  B.  C.  though  they  are  probably 
later. 

No.  2.  A large  diadem,  the  original  of  which  also  came  from  Mycenae, 
and  which  is  of  the  same  period  as  the  masks. 

No.  3.  A collection  of  plaques  and  other  ornaments  of  the  kind 


199 


THE  UNIVERSITY  MUSEUM 


that  were  probably  worn  as  decorations  of  the  drapery, 
though  it  is  now  considered  by  some  experts  that  they  were 
ornaments  of  the  wooden  coffins  in  which  the  bodies  were 
placed.  The  originals  are  all  of  gold,  beaten  very  thin, 
with  very  interesting  and  beautiful  designs  engraved  upon 
them.  These  plaques  are  characteristic  of  Mycenae,  and 
are  rarely  found  elsewhere. 

No.  4.  The  goblet,  of  which  this  is  a reproduction,  is  famous  in  the 
archaeology  of  Mycenae.  It  is  one  of  the  objects  found 
by  Schliemann,  and  is  usually  called  the  cup  of  Nestor. 
Schliemann,  in  discovering  the  tombs  at  Mycenae,  thought 
that  he  had  actually  found  the  graves  at  Agamemnon, 
Clytemnestra,  and  other  great  characters  of  the  Homeric 
Age.  When  this  cup  was  brought  to  light,  he  called  to 
mind  a passage  in  the  Iliad  (XI,  632-635),  in  which  a cup 
belonging  to  Nestor  is  described.  That  cup  differs  from 
this  only  in  being  larger,  and  having  four  handles,  instead 
of  two,  and  two  doves  on  each  handle,  instead  of  one.  But 
Schliemann,  in  first  publishing  this  cup,  tries  to  prove  that 
this  cup  is  of  the  same  shape  and  design  as  the  cup  of 
Nestor  in  the  Iliad;  and  one  is  tempted  to  think  that  he 
actually  believed  that  he  had  found  the  very  cup  of  Nestor 
himself.  Although,  of  course,  this  is  not  the  case,  never- 
theless the  name  has  stuck  to  the  object,  which  will  always 
be  thought  of  as  the  cup  of  Nestor. 

No.  5.  A reproduction  of  a gold  vase  with  a lid,  found  at  Mycenae. 

The  only  ornamentation  is  a beaded  decoration  around  the 
base  of  the  neck.  The  lid  is  kept  attached  to  the  vase  by 
the  high  wire  handle. 

No.  6.  A reproduction  of  a gold  cup  from  Mycenae,  with  a charming 
repousse  design  of  three  running  lions.  This  cup  is  on  a 
high,  slender  stem,  and  has  one  handle.  The  shape  is 
characteristic  of  the  Mycenaean  Age. 

No.  7.  A reproduction  of  a small  gold  mug  from  Mycenae,  with  a 
design  of  dolphins,  in  two  rows,  separated  from  each 
other  by  a raised  band  of  three  lines.  The  treatment  of  the 
dolphins  is  very  naturalistic. 

No.  8.  This  cup  is  also  from  Mycenae.  It  is  remarkable  for  the 
excellent  spiral  device  that  runs  around  it  in  two  bands,— 


200 


M EDITER  R A N E A N S E(  TION 


a device  that  is  typical  of  this  period,  and  is  the  principal 
contribution  of  the  Minoan  culture  to  decorative  art. 

No.  9.  A reproduction  of  a tall,  deep  golden  goblet  from  Mycenae. 
It  has  one  handle,  and  is  undecorated. 

No.  10.  A reproduction  of  a magnificent  golden  goblet,  on  a high 
stem,  and  decorated  with  a band  of  rosettes.  The  original 
of  this  goblet  was  found  at  Mycenae,  and  in  publishing  it 
Schliemann  said,  “This  is  one  of  the  most  splendid  jewels  of 
the  Mycenaean  treasure.” 

No.  1 1.  A reproduction  of  a small  golden  mug  from  Mycenae,  with  a 
decoration  of  a continuous  row  of  pointed  arches  at  the 
top,  and  around  the  middle  and  at  the  bottom  raised 
herring  bone  patterns  going  around  the  cup.  There  is  one 
handle. 

No.  12.  The  original  of  this  cup  is  of  silver,  and  in  the  course  of 
years  has  taken  on  a certain  amount  of  oxidation,  which  is 
very  cleverly  reproduced  in  the  copy.  The  shape  of  this 
cup  is,  as  a glance  at  the  other  specimens  in  the  case  will 
show,  quite  characteristic  of  the  period.  The  design  of 
gold  inlay  is  simple  and  beautiful,  and  the  vase  ranks  as 
one  of  the  most  important  of  those  found  at  Mycenae. 

No.  13.  The  original  of  this  beautiful  goblet  is  also  from  Mycenae, 
and  is  of  the  same  period  as  the  others  in  this  case.  As 
will  be  seen,  the  handles  end  in  the  form  of  dogs’  heads. 
The  shape  of  this  piece  is  most  graceful  and  beautiful. 
Four  of  these  goblets,  all  exactly  alike,  were  found  in  the 
same  tomb. 

No.  14.  A reproduction  of  a fragment  of  a filler,  the  shape  of  which, 
as  has  been  proved  by  recent  discoveries,  is  the  same  as 
that  of  the  boxer  vase,  Case  IV,  No.  15.  The  original 
of  this  fragment  is  of  silver,  and  is  one  of  the  most  important 
objects  found  at  Mycenae.  The  relief  represents  the  siege 
of  a city.  The  besiegers  are  lost;  the  warriors  represent 
the  defenders  of  the  town,  while  inside  the  walls  are  the 
women . 

No.  15.  This  shallow  cup  is  another  copy  of  one  found  at  Mycenae; 

the  heads  in  profile  are  inlaid  in  the  silver  body,  and 
treated  in  a simple  and  most  effective  manner.  In  fact, 
the  charm  of  many  of  these  Mycenaean  objects  consists  in 


201 


THE  UNIVERSITY  MUSEUM 


their  restraint  and  simplicity.  This  cup  was  found  in 
excavations  made  subsequent  to  those  of  Schliemann. 

No.  16.  Reproduction  of  a large  gold  mug,  found  by  Schliemann  at 
Mycenae,  with  a device  of  plants,  running  from  bottom  to 
top  around  the  vase. 

No.  17.  The  two  cups,  which  are  listed  under  this  number,  are  a 
pair,  the  originals  of  which  were  found  in  a tomb  at  Vap- 
hio,  not  far  from  Sparta.  They  were  undoubtedly  made  in 
Crete,  and  certainly  represent  the  acme  of  the  goldsmith’s 
art  in  the  First  Late  Minoan  period.  The  designs,  in  bold 
relief,  are  splendidly  conceived  and  executed.  One  is  of 
bulls  in  the  wild  state,  being  trapped  and  killing  the 
trappers;  in  the  other  we  see  bulls  in  the  domesticated 
condition,  under  the  mastery  of  men.  The  two  cups  were 
obviously  meant  to  go  together  as  a pair. 


202 


REPRODUCTIONS  OF  CRETAN  ANTIQUITIES. 

E.  H.  H(all)  Museum  Journal,  V,  1914,  pp.  152-155,  162-168, 
Figs.  82-83,  87-90.  See  also  Robinson,  Art  and  Archeology,  V, 
1917,  pp.  221-234. 

Alcove  C. 

Case  III. 

Contents  of  the  so  called  Shrine  of  the  Snake  Goddess  at 
Knossos,  where  they  were  evidently  offerings.  The  originals  are  in  the 
Museum  at  Candia,  Crete.  The  attention  of  the  public  has  often 
been  called  to  the  modern  looking  costumes  of  the  Snake  Goddess 
(No.  1 in  the  case)  and  her  attendant  (No.  2),  and  to  the  votive 
dresses  hung  up  at  the  shrine  (No.  4).  The  flying  fishes  (No.  5)  are 
also  worthy  of  study.  One  of  the  most  curious  of  these  objects  is  the 
cross  (No.  6),  in  the  shape  of  the  modern  Greek  cross,  which  suggests 
that  in  these  early  days,  the  cross  had  some  religious  significance. 
The  plaques  of  a cow  (No.  7)  and  a goat  (No.  8)  suckling  their  young 
are  also  of  great  interest.  The  originals  date  from  the  seventeenth 
century  B.  C.,  or,  in  the  chronology  adopted  by  the  archaeologists, 
in  the  Third  Middle  Minoan  period. 

Alcove  C. 

Case  IV. 

No.  9.  Reproduction  of  a goblet  of  alabaster  found  at  Mycenae,  and 
preserved  in  the  National  Museum  at  Athens.  Made  at 
about  1100  B.  C. 

No.  10.  Reproduction  of  a stone  lamp,  found  at  Isopata,  and  pre- 
served in  the  Museum  at  Candia,  Crete.  This  object 
dates  in  the  First  Late  Minoan  period  or  between  1700 
and  1500  B.  C. 

No.  1 1 . Copy  of  a double  stone  vase,  that  is,  a vase  with  a cover 
equal  to  it  in  size,  which  could  be  used  as  a bowl  itself, 
found  at  Mycene,  and  now  in  the  National  Museum  at 
Athens.  It  is,  like  No.  9,  a product  of  the  Third  Late 
Minoan  period,  and  dates  at  about  1100  B.  C. 

No.  12.  Copy  of  a fragment  of  fresco  from  Knossos.  This  shows 
very  clearly  the  condition  in  which  the  bulk  of  the  Cretan 


203 


THE  UNIVERSITY  MUSEUM 


frescoes  were  found.  The  original  is  in  Candia,  in  the 
Museum.  It  belongs  to  the  so  called  palace  style,  or 
the  Second  Late  Minoan  period,  dating  about  1500  B.  C. 

No.  13.  A famous  vase,  found  by  the  University  Museum  in  its 
excavations  at  Gournia.  This  vase,  with  its  most  natural- 
istic design  of  an  octopus,  is  of  the  form  usually  called  a 
stirrup  jar.  It  was  made  in  the  First  Late  Minoan 
period  (1700-1500  B.  C.),  and  has  often  been  published. 
The  original  is  in  the  Museum  in  Candia. 

No.  14.  This  is  often  called  the  chieftain  vase,  and  represents 
a ruler  or  commander  giving  instructions  to  his  subordi- 
nates, who  are  represented  by  an  officer  and  three  soldiers. 
The  soldiers  have  enormous  shields,  and  the  officer  is 
distinguished  by  having  no  shield,  but  wearing  a helmet 
and  crest  and  carrying  a sword.  The  original  is  in  Candia, 
and  is  of  steatite,  as  is  the  case  with  Nos.  15  and  16. 

No.  15.  Known  usually  as  the  boxer  vase.  This  is  a tall  funnel- 
shaped  vase,  known  as  a filler,  and  about  eighteen  inches 
high.  There  are  four  bands  of  decoration,  devoted  to 
scenes  of  bull  leaping  and  boxing.  The  original  is  in 
Candia. 

No.  16.  This  vase,  known  usually  as  the  harvester  vase,  is  perhaps 
the  most  remarkable  of  the  steatite  specimens.  Not  only 
that,  but  it  is  probably  the  most  important  of  the  repro- 
ductions in  the  case.  In  its  original  state,  only  the  centre 
part  was  preserved,  and  the  top  and  bottom  are  restora- 
tions. This  restoration  was  effected  with  approximate 
accuracy,  as  can  be  seen  by  looking  at  the  vase  No.  17, 
the  original  of  which  came  from  Gournia,  and  which  formed 
the  model  for  the  restoration.  The  tripod  in  which  it 
rests,  is,  of  course,  a modern  addition. 

On  the  body  is  represented  a procession  of  singing 
men,  led  by  a man  in  a great  capote,  while  the  others  wear 
only  a loin  cloth.  They  carry  flails  on  their  shoulders, 
and  march  in  a kind  of  military  order.  All  are  singing  to 
the  accompaniment  of  a sistrum,  which  one  of  them  is 
playing.  The  effect  of  perspective  is  most  cleverly 
obtained,  and  is  superior  to  anything  that  was  done  in 
Egypt  at  the  same  time.  These  three  steatite  vases  were 
found  at  Hagia  Triada,  and  are  usually  assigned  to  the 


204 


MEDITERRANEAN  SECTION 


Third  Middle  Minoan  period  (1900-1700  B.  C.)  The 
original  is  in  Candia. 

No.  17.  Vase  of  the  same  shape  as  the  harvester  vase.  The  original 
was  found  at  Gournia,  and  is  in  Candia.  This,  and  other 
vases  like  it,  served  as  the  models  for  the  correct  restora- 
tion of  the  lost  parts  of  the  harvester  vase.  The  deco- 
rative patterns,  and  the  treatment  of  the  design  prove 
that  the  original  of  this  vase  is  of  the  First  Late  Minoan 
period,  1700-1500  B.  C. 

No.  18.  Cast  of  another  steatite  vase.  The  remarkable  thing  about 
this  vase  is  that  the  original  was  of  inlaid  stone,  and  there- 
fore had  a design  of  a different  material  from  the  rest  of 
the  vase.  It  came  from  Knossos,  and,  like  the  rest  cf 
these  Cretan  things,  is  now  in  the  Museum  in  Candia. 
Ihis  seems  to  belong  in  the  Middle  Minoan  period, 
between  2000  and  1700  B.  C. 

No.  19.  Vase  in  the  shape  of  a pitcher  with  a hole  at  the  bottom, 
showing  that  it  was  used  for  a filler.  It  was  found  by  the 
expedition  of  the  British  School  at  Athens,  at  a site  now 
called  Palaikastro,  and  the  original  is  in  the  Museum  at 
Candia.  This  vase  owes  its  fame  to  the  fact  that  it  was 
one  of  the  first  of  this  shape  to  be  discovered;  but  since 
that  time  the  American  expeditions  to  Gournia,  Pseira, 
and  other  sites  have  yielded  many  such  vases.  First  Late 
Minoan  period,  1700-1500  B.  C. 

No.  20.  This  is  another  copy  of  a stone  lamp,  found  on  the  mainland 
of  Greece.  The  original  is  of  alabaster.  It  dates  from  the 
First  Late  Minoan  period,  1 700-1500  B.  C.,  and  the  original 
is  in  the  National  Museum  in  Athens. 

On  Brackets  in  Alcove  C. 

Nos.  4 and  5.  Two  reproductions  of  lamp  stands  from  Knossos, 
which  belong  in  the  first  or  second  Late  Minoan  period, 
between  1700  and  1400  B.  C.  The  originals  of  these 
stands  are  in  the  Museum  in  Candia. 


205 


OBJECTS  OF  TERRACOTTA  AND  BRONZE. 


Case  V 


Alcove  D. 


No.  1.  Rhyton,  or  drinking  horn,  of  terracotta,  ending  in  the  head, 
shoulders,  and  fore  legs  of  a horse.  This  is  of  South  Italian 
manufacture,  probably  coming  from  the  Greek  colony  of 
Tarentum.  It  can  hardly  antedate  the  fourth  century 
B.  C.  and  may  even  be  a century  later. 

No.  2.  Charming  figurine  of  a seated  woman.  This  is  in  the  style 
of  the  Tanagra  figurines,  and  is  perhaps  as  early  as  the 
fourth  century  B.  C. 

Nos.  3,  4 and  5.  Architectural  ornaments,  probably  from  Tarentum. 

They  are  antefixes,  and  two  of  them  have  the  traces  of  the 
attached  roof  tile  on  the  back. 

No.  6.  Archaic  terracotta  statuette  of  a standing  woman.  This  is 
probably  Etruscan,  of  the  fifth  century  B.  C. 

No.  7.  Etruscan  statuette  of  a seated  woman,  in  fragmentary  condi- 
tion, and  of  the  same  date  as  No.  6. 

No.  8.  Pig,  of  terracotta.  The  provenance  of  this  object  is  unknown, 
but  it  is  probably  Greek,  of  the  early  fifth  century. 

No.  9.  Figurine  of  a draped  woman.  Probably  Greek,  of  the  fourth 
century  B.  C. 

No.  10.  Grotesque  figurine  of  a man.  Hellenistic  in  date,  probably 
of  the  second  century  B.  C. 

Nos.  11  and  12.  Etruscan  bronze  statuettes,  archaic,  of  the  sixth 
century  B.  C.  No.  12  is  an  especially  interesting  example 
in  perfect  preservation. 

No.  13.  Bronze  statuette,  Etruscan  or  Roman,  of  Dionysos,  bearded 
and  crowned,  with  a wine  cup  in  his  left  hand. 

Nos.  14  and  15.  Two  heads  of  women,  in  terracotta.  South  Italian, 
third  century  B.  C. 

No.  16.  Head  of  a garlanded  and  bearded  Silenus.  Fine  example 
of  Hellenistic  work,  of  the  same  period  as  the  two  heads  just 
mentioned. 

No.  17.  Etruscan  terracotta  head  of  a woman,  perhaps  to  be  dated 
in  the  fourth  century  B.  C. 

No.  18.  Head  of  a veiled  woman.  South  Italian,  third  century  B.  C. 


206 


MEDITERRANEAN  SECTION 


No.  19.  Head  and  upper  body  of  a woman  with  diadem  on  her  head. 
This  is  probably  Italic,  of  the  fifth  century  B.  C. 

No.  20.  Head  of  a bearded  man,  perhaps  a divinity.  Same  period 
as  the  last  specimen. 

No.  21.  Head  of  a woman.  South  Italian,  of  the  fourth  or  third 
century  B.  C.  Traces  of  polychrome  decoration. 

No.  22.  Head  and  upper  body  of  a nude,  youthful  figure,  fourth 
or  third  century  B.  C.,  and  probably  also  from  Southern 
Italy. 

No.  23.  Beautiful  head  of  a woman,  of  undoubted  Greek  workman- 
ship, made  in  the  fourth  or  third  century  B.  C. 

No.  48.  A Tanagra  figurine  representing  a woman  playing  on  pipes. 

Tourth  century  B.  C.  S.  B.  L(uce),  Museum  Journal, 
X,  1919,  pp.  20-25,  Fig.  8.  A.  J.  A.,  XXIV,  1920,  p.  104. 
From  Athens.  Formerly  in  collection  of  Rufus  B.  Rich- 
ardson, late  Director  of  the  American  School  of  Classical 
Studies  at  Athen. 


207 


GREEK,  ETRUSCAN,  AND  ROMAN  JEWELRY 

AND  GEMS, 

Case  VI. 

Of  the  ancient  peoples  who  inhabited  the  Mediterranean  Basin 
in  the  fifth  century  B.  C.,  the  Etruscans  were  the  most  famous  for 
their  jewelry  and  goldsmith  work.  The  Greeks,  of  course,  were  no 
mean  rivals;  but  the  Etruscan  work  is  more  remarkable  for  its 
technical  skill,  and  for  the  minuteness  and  painstaking  quality  of  the 
work,  involving  processes  which  cannot  be  reproduced  today.  They 
therefore  can  be  called  the  great  goldsmiths  of  antiquity,  a title 
which  their  contemporaries  were  quite  willing  to  accord  them.  It 
was  the  attempt  to  copy  these  processes,  and  to  unravel  the  secrets 
of  the  Etruscan  technique  in  gold,  that  induced  the  celebrated  Roman 
jeweler,  Augusto  Castellani,  to  become  an  archaeologist,  and  a col- 
lector, not  only  of  Etruscan  goldsmiths’  work,  but  of  all  antiquities. 

No.  1.  Fragments  of  three  Etruscan  gold  rings  of  the  spiral  pattern. 
Sixth  or  fifth  centuries  B.  C. 

No.  2.  An  archaic  Greek  gold  plaque,  terminating  at  the  top  in 
three  rosettes,  and  with  a repousse  design  of  a winged 
Artemis,  and  two  animals.  Seventh  century  B.  C. 

No.  3.  An  Etruscan  gold  bulla,  or  case  for  amulets,  worn  around  the 
neck,  with  a design  on  the  front  of  two  nude  youths,  and, 
on  the  back,  palmettes.  Sixth  century  B.  C. 

No.  4.  A circular  plaque  of  very  thin  gold,  with  a repousse  design 
of  a youth’s  profile.  Etruscan,  fifth  century  B.  C. 

No.  5.  A gold  earring,  like  those  worn  by  the  figures  in  the  ante- 
fixae  251,  261,  and  263  in  the  East  room,  and  the 
terracotta  No.  26  in  the  same  room.  Etruscan,  fifth 
century  B.  C. 

Luce,  A.  J.  A.,  XXIV,  1920,  p.  363,  Fig.  8. 

No.  6.  Two  golden  ducks,  one  an  earring,  the  other  a small 
ornament.  Greek,  fifth  century  B.  C. 

No.  7.  Group  of  seven  square  ornaments,  with  remarkable  raised 
decoration,  of  Etruscan  workmanship.  Fifth  century 
B.  C. 

No.  8.  A gold  ring,  as  a setting  for  a pendant  stone  now  missing. 


208 


MEDITERRANEAN  SECTION 

It  has  two  inscriptions  engraved  on  the  outside.  Greek, 
of  the  third  or  second  centuries  B.  C. 

No.  9.  Two  Etruscan  coiled  gold  rings.  Sixth  century  B.  C. 

No.  10.  Greek  or  Etruscan  gold  bead,  found  at  Cervetri  in  Etrurie, 
in  the  form  of  a knob.  Fifth  century  B.  C. 

No.  11.  A circular  Greek  or  Etruscan  earring.  Fifth  century  B.  C. 

No.  12.  Two  Etruscan  rings,  one  with  an  intaglio,  one  with  a device 
of  clasped  hands. 

No.  13.  An  Etruscan  coiled  gold  ring,  with  a fine  granulated  pattern. 
Sixth  century  B.  C. 

No.  14.  This  ring  is  especially  worthy  of  notice.  Instead  of  the 
seal  that  is  customary  in  Roman  rings  of  the  period  in 
which  this  was  made,  it  has  a nude  figure  of  a child  for  an 
ornament,  and  inside,  the  Latin  inscription,  EXCIDIO 
SERVATA  MEO,  “preserved  by  my  destruction.”  The 
meaning  of  this  ring  is  uncertain.  Whether  the  ring  is 
that  of  a child,  or  of  an  adult,  is  the  problem. 

Bates,  A.  J.  A.,  XVI,  1912,  p.  102. 

No.  15.  A series  of  three  cylindrical  gold  ornaments.  These  show 
the  extraordinary  technical  skill  of  the  Etruscan  workers 
in  gold,  who  could  do  minute  and  exacting  work  with 
painstaking  accuracy.  Fifth  century  B.  C. 

No.  16.  A pair  of  very  beautiful  Greek  earrings,  of  the  fifth  century 
B.  C. 

No.  17.  A seal  ring,  probably  Roman,  with  a bezel  of  red  paste, 
with  an  intaglio  of  Athena.  This  was  made  in  the  period 
between  the  first  century  B.  C.  and  the  first  century  A.  D. 

No.  18.  An  early  Etruscan  ring,  with  a pi  voted  agate  bezel  in  which 
is  an  archaic  intaglio  of  a runner.  Sixth  century  B.  C. 

No.  19.  Three  Etruscan  gold  pendants,  in  the  form  of  beads,  found 
at  Cervetri,  and  of  the  fifth  century  B.  C. 

No.  20.  A Hellenistic  or  Graeco-Roman  earring,  found  in  Egypt,  and 
lent  to  the  Museum  by  Dr.  Robert  H.  Lamborn.  Third  or 
second  centuries  B.  C. 

No.  21.  A small  silver  fibula,  or  brooch,  found  at  Cervetri.  Etruscan 
sixth  century  B.  C. 

No.  22.  A fine  gold  fibula,  or  brooch,  with  a long  guard,  ornamented 
with  a beautiful  granulated  floral  pattern.  Etruscan,  fifth 
century  B.  C. 

No.  23.  Two  very  remarkable  Etruscan  gold  discs,  with  rosettes  of 


209 


THE  UNIVERSITY  MUSEUM 


No.  24. 

No.  25. 
No.  26. 

No.  27. 
No.  28. 
No.  29. 
No.  30. 

No.  31. 


No.  32. 


No.  33. 


No.  34. 


leaves  in  the  centre,  and  a decoration  of  raised  balls  of  gold 
along  the  outside.  Found  at  Cervetri.  Fifth  century 
B.  C. 

A thin  band  of  gold,  with  a floral  design  in  repousse  work. 
At  one  end  is  a tassellike  decoration  of  gold  and  green  glass 
beads.  Greek,  fifth  century  B.  C. 

Two  fragments  of  pendants  in  the  form  of  rings.  Etruscan, 
sixth  century  B.  C. 

A pair  of  Etruscan  gold  earrings,  with  a repousse  floral 
decoration.  They  are  hollow,  and  one  is  much  dented. 
Sixth  century  B.  C. 

A collection  of  four  Greek  or  Graeco-Roman  earrings,  from 
different  sites,  of  a period  between  500  B.  C.  and  100  A.  D. 

Ten  beads  from  an  Etruscan  gold  necklace,  of  the  fifth 
century  B.  C.,  found  at  Orvieto. 

An  Etruscan  necklace,  made  up  of  twenty  three  cylindrical 
beads  of  fine  gold,  flattened.  Sixth  century  B.  C. 

An  Etruscan  necklace  of  twenty-one  gold  beads,  with  a 
central  urnshaped  pendant  bead  of  gold  and  green  glass. 
Sixth  or  fifth  centuries  B.  C. 

A gold  necklace  of  Greek  or  Etruscan  workmanship,  found 
at  Cervetri,  consisting  of  forty-two  cylindrical  beads,  from 
every  other  one  of  which  a pomegranate  of  gold  is  sus- 
pended, decorated  with  granular  ornamentation,  making 
twenty  pomegranates  in  all.  The  necklace  is  strung  on  a 
fine  gold  chain.  Late  sixth  or  early  fifth  century  B.  C. 

An  Etruscan  necklace  of  great  beauty,  composed  of  beads 
of  gold  and  blue  paste,  with  eighteen  golden  pendants, 
on  which  are  charming  granular  patterns.  Fifth  century 
B.  C.  The  beads  have  been  restrung  in  modern  times. 

An  Etruscan  necklace,  composed  of  numerous  beads  of  gold, 
glass,  and  amber.  Most  of  the  amber  beads  are  in  the 
form  of  pendants.  In  the  centre  is  an  Egyptian  scarab, 
of  blue  faience,  with  hieroglyphics,  in  a heavy  gold  setting. 
Sixth  century  B.  C.  The  beads  have  been  restrung  in 
modern  times. 

A wonderful  necklace  of  gold,  of  Etruscan  workmanship, 
composed  of  a double  row  of  cylindrical  horizontal  beads, 
with  many  pendants  of  gold,  of  various  shapes.  The 


2 10 


MEDITERRANEAN  SECTION 


stringing  is  new,  but  the  necklace  itself  is  of  the  sixth  or 
fifth  centuries  B.  C. 

Nos.  35-42  are  examples  drawn  from  the  Maxwell  Somerville  col- 
lection of  gems.  Most  of  these  gems  belong  to  the  Roman 
Imperial  period,  though  a few  are  Greek  or  Etruscan;  and 
some  are  frankly  modern. 

No.  35.  A group  of  twelve  intaglios,  seven  of  which  are  set  in  rings, 
the  other  five  as  seals. 

No.  36.  Another  group  of  twelve  intaglios,  three  of  which  are  set 
in  rings. 

No.  37.  A group  of  twelve  gems,  including  one  cameo,  two  of  which 
are  set  in  rings. 

No.  38.  Another  group  of  twelve  gems,  including  one  cameo.  Three 
of  them  are  set  in  rings. 

No.  39.  Twelve  gems,  all  set  in  rings,  one  of  which  is  a cameo. 

No.  40.  Twelve  intaglios,  all  set  in  rings.  One  seems  to  be  in  its 
original  setting,  the  rest  seem  to  have  been  set  in  modern 
times.  This  is  true  of  nearly  all  the  gems  in  the  collection. 

No.  41.  Twelve  more  gems,  all  set  in  rings,  one  of  them  a cameo. 

No.  42.  Twelve  more  intaglios,  all  set  in  rings. 


ROMAN  NECKLACES  FROM  PALESTINE 
200  B.  C.  TO  500  A.  D. 

Case  VII. 

This  case  contains  twenty  seven  necklaces  of  glass  and  semi- 
precious stones,  all  from  the  Holy  Land.  Of  these  necklaces  the 
greater  number  are  either  entirely  of  carnelian,  or  of  carnelian  mingled 
with  other  stones.  Nos.  1,  3,  9,  13,  and  27  are  plain  carnelian  neck- 
laces; and  Nos.  17  and  20  are  also  of  carnelian,  but  the  beads  are 
decorated  with  patterns  appliqueed  in  a very  hard  white  enamel, 
which  shows  the  skill  of  the  ancients  in  the  art  of  enameling.  Car- 
nelian is  combined  with  rock  crystal  in  No.  11,  and  with  agate  in 
No.  28;  while  in  Nos.  6 and  21,  we  find  carnelian,  agate,  and  onyx 
combined.  Finally,  in  Nos.  12  and  26,  the  beads  are  of  carnelian, 
crystal,  onyx,  and  agate.  Nos.  5 and  7 are  of  quartz  crystal,  and 
No.  18  is  amethyst. 

The  rest  of  the  necklaces  in  this  case  are  of  glass  beads  of  differ- 
ent types.  Some  are  opaque,  some  transparent;  some,  though  made 
of  glass,  look  more  like  clay.  Others  are  made  to  look  like  stone. 

The  above  collection  of  necklaces  has  been  described,  and  the 
most  important  specimens  published,  by  E.  H.  H(all),  Museum 
Journal,  IV,  1913,  pp.  132-133,  and  Fig.  119.  See  also  A.  J.  A., 
XVIII,  1914,  p.  416. 


212 


ANCIENT  BRONZE  HELMETS. 


Case  VIII. 

S.  B.  L(uce)  Museum  Journal,  pp.  68-76,  Figs.  44-49. 

Nos.  1 and  2.  Greek  helmets,  of  the  so  called  Corinthian  style. 

They  show  the  peculiarity  of  this  type  of  helmet,  in  com- 
pletely covering  the  face  and  neck.  This  form  of  helmet 
persisted  throughout  the  whole  Classical  period ; we  see  it 
on  the  vase  paintings  for  two  centuries.  These  specimens 
are  not  later  than  the  fifth  century  B.  C.,  and  may  be  earlier. 
No.  1 is  from  Ascoli  Piceno:  objects  found  with  it  will  be 
found  in  the  East  room,  Case  XXVI,  No.  150.  The 
provenance  of  No.  2 is  unknown. 

Luce,  loc.  cit.,  Figs.  44-46. 

No.  3.  Italic  helmet,  popularly  known  as  a jockey  cap.  One  of 
the  cheek  pieces  is  modern.  In  the  centre  of  the  front  of 
the  helmet  is  a small  round  hole,  perhaps  a rivet  hole  for 
the  attachment  of  a crest  or  decoration.  The  top  of  the 
helmet  originally  ended  in  a knob,  but  is  now  broken  and 
looks  as  if  it  had  been  staved  in  by  a blow  from  a mace  or 
some  heavy  weapon,  which  doubtless  caused  the  death  of 
the  wearer.  This  helmet  was  probably  made  about 
400  B.  C.,  and  the  origin  of  the  shape  is  doubtless  Etruscan. 

Luce,  loc.  cit.,  Fig.  47. 

Nos.  4 and  5.  Italic  Helmets,  of  the  type  not  found  in  Greece. 

Helmets  of  this  shape  have  been  found  in  tombs  as  early 
as  the  end  of  the  seventh  century  B.  C.  These  are,  how- 
ever, of  Italic  or  Roman  origin,  and  probably  belong  in 
the  third  century  B.  C.,  as  helmets  very  like  them  have 
been  found  on  the  battlefield  of  Cannae,  which  was  fought 
in  216  B.  C.  They  never  had  cheek  pieces,  and  very 
rarely  had  crests.  It  is  probable,  however,  that  No.  5 
was  provided  originally  with  a broad,  low  crest  of  horse- 
hair or  similar  material. 

Luce,  loc.  cit.,  Figs.  48-49. 


213 


ETRUSCAN  BRONZE  VASES  AND  UTENSILS. 


Case  X. 

The  objects  in  this  case  belong  in  the  long  period  between  the 

sixth  and  first  centuries  B.  C.,  and  are  either  Etruscan  or  Roman. 

They  have  been  carefully  selected  for  their  artistic  excellence,  or  the 

beauty  of  their  patina. 

No.  1.  A cylindrical  cup,  with  a high  handle,  and  of  a graceful  shape. 

Cups  of  this  kind  are  not  uncommon  in  tombs  of  the 
sixth  or  fifth  centuries  B.  C.  From  Etruria. 

No.  2.  Foot  of  an  Etruscan  cista,  in  the  form  of  a griffin’s  foot,  sur- 
mounted by  a sphinx.  Fifth  or  fourth  centuries  B.  C. 

No.  3.  A handle  of  a bronze  pitcher,  found  at  Toscanella.  Fifth 
century  B.  C. 

No.  4.  A vase  handle  of  Etruscan  fifth  century  work,  in  the  form  of 
an  acrobat,  with  his  weight  on  his  hands.  Found  at  Chiusi. 

No.  5.  Bronze  handle  of  a pitcher  or  other  vase,  with  a beautiful 
patina.  Fifth  or  fourth  centuries  B.  C. 

No.  6.  A bronze  vase  handle,  from  Chiusi,  of  the  fourth  century 
B.  C. 

No.  7.  A fine  bronze  handle  for  a pail  or  bucket,  with  an  excellent 
patina,  from  Chiusi.  Fourth  century  B.  C. 

No.  8.  A pair  of  vase  handles,  ending  in  rams’  heads.  They  differ 
slightly  from  each  other,  showing  that  they  are  not  from 
the  same  vase.  On  the  bottom  of  one,  is  a plaque  with  a 
spread  eagle  in  relief ; while  on  the  bottom  of  the  other  is 
a plaque  with  a relief  of  Herakles  at  an  altar.  Fine  patina. 
Fourth  century  B.  C. 

No.  9.  A pair  of  vase  handles  of  unusual  interest.  They  take  the 
form  of  birds’  heads,  with  open  beaks.  Their  importance 
lies  in  the  fact  that  the  bronze  is  painted.  They  are 
Etruscan,  and  early  in  date,  of  about  the  sixth  century  B.  C. 

No.  10.  Handle  of  a pitcher  of  unknown  provenance,  but  very  graceful 
in  form.  Etruscan,  fifth  century  B.  C. 

No.  11.  A tall  foot,  from  a cista,  or  other  vase,  decorated  with  a 
design  of  acanthus  leaves.  Fine  patina.  Provenance 
unknown.  Etruscan,  fourth  century  B.  C. 


214 


MEDITERRANEAN  SECTION 


No.  12.  An  Etruscan  ladle,  the  bottom  of  which  is  gone.  The 
handle  ends  in  the  head  of  a serpent,  holding  a bird  in  his 
mouth.  The  provenance  is  uncertain,  but  is  probably 
Narce,  and  the  ladle  probably  belongs  in  the  sixth 
century  B.  C. 

No.  13.  A bronze  ladle,  found  at  Toscanella.  Fifth  century 
B.  C. 

No.  14.  An  Etruscan  bowl,  or  patera,  used  for  drinking  or  for  liba- 
tions. Much  corroded,  and  in  poor  condition.  The  sides 
are  ribbed.  Found  at  Narce.  Eighth  or  seventh  centuries 
B.  C. 

No.  15.  An  Etruscan  patera,  found  at  Narce.  Somewhat  corroded. 

The  rim  is  bent  outward,  and  beaded.  Seventh  or  sixth 
centuries  B.  C. 

No.  16.  An  Etruscan  patera,  from  Narce.  This  is  a large,  shallow 
bowl,  with  a good  patina.  Same  period  as  No.  15. 

No.  17.  A deep  bronze  bowl,  with  a smooth  green  patina,  much  of 
of  the  surface  of  which  is  covered  with  a charred  deposit. 
Found  at  Narce,  and  of  the  same  period. 

No.  18.  An  Etruscan  bowl,  much  corroded,  with  ribbed  sides. 

Found  at  Narce,  and  belonging  in  the  seventh  century  B.  C. 

No.  19.  An  Etruscan  cista,  or  toilet  box,  of  the  fifth  or  fourth  centuries 
B.  C.  This  very  small  example  is  unfortunately  in  poor 
preservation.  The  handle  of  the  lid,  in  the  form  of  a dis- 
torted boy,  is  characteristic  of  these  toilet  chests.  Found 
at  Chiusi. 

No.  20.  A small  jug,  with  the  handle  lost.  Fine  patina.  Etruscan, 
of  the  sixth  century  B.  C. 

No.  21.  A small  bronze  object,  perhaps  a handle,  with  a hook  in  the 
form  of  a dog’s  head,  and  a flat  part,  like  a pair  of  wings, 
on  which  is  incised  ornamentation.  Probably  Etruscan, 
of  the  sixth  century  B.  C. 

No.  22.  A pair  of  vase  handles,  of  gilded  bronze,  from  a hydria,  or 
water  jar,  with  the  pieces  for  attachment  in  the  form  of 
palmettes.  These  are  probably  of  a relatively  late  period, 
about  the  fourth  century  B.  C.  From  Chiusi. 

No.  23.  Lid  of  a vase,  with  the  handle  in  the  form  of  two  horses, 
tail  to  tail.  On  either  side  are  holes  to  attach  the  lid  to 
to  the  vase.  Etruscan,  of  the  sixth  century  B.  C. 

No.  24.  Foot  of  a cista,  or  other  large  Etruscan  vase,  in  the 


215 


THE  UNIVERSITY  MUSEUM 


form  of  a griffin's  claw,  surmounted  by  a resting  satyr, 
in  relief.  Fifth  century  B.  C. 

No.  25.  A handsome  bucket  handle,  with  elaborate  decorations  and 
on  each  attachment  piece  a plaque  with  a head  of  Herakles, 
between  two  palmettes.  Etruscan,  fifth  or  fourth  centuries 
B.  C. 

No.  26.  A handle  consisting  of  a ring  with  a leaf  motif  attached. 

Fine,  smooth,  light  green  patina.  Etruscan,  fifth 
century  B.  C. 

No.  27.  A fine  bronze  handle  for  a hydria,  with  an  attachment  plate 
ornamented  with  scrolls  and  palmette  petals.  From 
Cortona.  Fifth  or  fourth  centuries  B.  C. 

No.  28.  A handle,  from  the  lid  of  an  Etruscan  cista,  in  the  form 
of  a nude  woman,  with  her  back  bent  into  an  arch,  and 
her  weight  supported  on  her  hands  and  feet.  Sixth 
century  B.  C. 

No.  29.  A fine  bronze  lamp,  with  a beautiful  engraved  decoration  of 
bunches  of  grapes,  spirals,  and  ivy  leaves.  At  each  side 
are  two  perforated  protuberances  for  suspension.  On  the 
rim  is  an  egg  and  dart  pattern.  Fourth  century  B.  C.,  or 
later. 

No.  30.  An  Etruscan  bronze  pitcher,  with  its  handle  gone,  and 
with  a trefoil  lip.  Such  a specimen  is  impossible  to  date, 
except  on  the  evidence  of  objects  found  with  it,  as  vases 
of  this  shape  are  common  in  every  period.  As  there  is 
no  record  of  any  objects  found  with  this  example,  it 
cannot  be  correctly  dated. 


216 


THE  JOHN  THOMPSON  MORRIS  COLLECTION 

OF  ANCIENT  GLASS. 

Case  XIV. 

Most  of  the  glass  shown  in  this  case  is  of  the  period  between  the 

first  century  B.  C.,  and  the  first  century  A.  D.  When  no  dates  are 

given,  it  may  be  said  to  belong  in  this  period. 

No.  1.  Two  tall,  handsome  pitchers,  with  long  necks. 

No.  2.  Two  small  pitchers  of  Jewish  glass,  usually  dated  in  the  fourth 
century  A.  D. 

No.  3.  A tall  vase,  on  a foot,  of  graceful  shape  and  delicate  coloration. 

No.  4.  Two  glass  bottles  of  Roman  or  Syrian  manufacture. 

No.  5.  A fine  glass  urn,  used  for  the  ashes  of  the  dead.  It  dates  in 
the  second  or  third  centuries  of  our  era,  as  do  the  other 
vases  with  it  (No.  4).  Glass  had  by  this  time  largely 
taken  the  place  of  pottery  for  such  purposes.  In  the  more 
remote  antiquity  of  the  great  age  of  Athens,  glass  was  a 
rarity.  Glass  vessels  were  mentioned  in  the  Athenian 
treasure  lists  of  the  fourth  century  B.  C.,  as  among  the 
most  valuable  Objects  owned  by  the  city. 

No.  6.  Two  pitchers,  something  the  shape  of  the  modern  case 
bottle. 

No.  7.  A bottle,  of  late  date,  with  a large  body  and  small  neck. 

No.  8.  A group  of  eleven  small  vases  of  various  shapes,  all  mulberry 
colored. 

No.  9.  A group  of  nine  perfume  flasks  of  various  shapes  and  sizes. 

No.  10.  A group  of  six  drinking-cups,  of  various  shapes  and  sizes. 

No.  1 1 . A perfume  flask  in  the  form  of  a date,  made  in  the  period 
between  the  first  century  B.  C.  and  the  first  century  A.  D. 

No.  12.  One  small  jar  with  no  handle,  and  with  good  iridescence. 

No.  13.  A tall  flask,  with  a narrow  mouth  and  base.  Silvery  col- 
oration. 

No.  14.  A plain  bottle  with  a lip,  and  tapering  neck. 

No.  15.  A group  of  four  vases  with  heavy  threads  of  the  same  color, 
forming  a handlelike  decoration. 

No.  16.  A bottle  of  exquisite  shape  and  iridescence.  First  century 
A.  D.,  or  later. 


217 


THE  UNIVERSITY  MUSEUM 

No.  17.  Two  bowls  of  opaque  glass,  one  white,  one  red.  These  two 
bowls  are  of  Sidonian  manufacture,  and  were  probably 
made  in  the  first  century  B.  C.  With  them  is  another 
of  translucent  green  glass,  of  the  same  shape,  from  Egypt. 

No.  18.  A small  vase  of  much  the  same  type  as  those  numbered 
15,  of  translucent  glass,  from  Egypt. 

No.  19.  Two  pitchers,  with  their  bodies  pressed  in  at  regular 
intervals. 

No.  20.  A pitcher  of  dark  glass,  with  green  iridescence. 

No.  21.  A small  bottle,  with  a wide,  flattened  body,  and  iridescence 
of  great  delicacy  and  beauty. 

No.  22.  A group  of  five  vases  of  various  shapes,  of  clear,  translucent 
glass.  These  vases  were  found  in  Egypt,  and  belong  late 
in  the  Roman  period,  perhaps  in  the  fourth  or  fifth 
centuries  of  our  era.  The  lack  of  iridescence  is  doubtless 
due  to  the  dryness  of  the  Egyptian  climate. 

No.  23.  Two  vases  of  yellow  translucent  glass,  from  Egypt. 

No.  24.  A vase  with  a long  spout,  probably  a filler,  for  a lamp  or 
other  vase,  of  greenish  translucent  glass,  from  Egypt. 

No.  25.  A small,  pointed  bottle  of  dark  brown  translucent  glass, 
from  Egypt. 

No.  26.  A small  cup  of  yellow  glass,  with  a relief  design  of  rosettes, 
from  Luxor  in  Egypt.  Probably  of  the  late  Roman  or 
Byzantine  period. 

No.  27.  A vase  in  the  shape  of  a bird,  of  white  translucent  glass, 
from  Egypt. 

No.  28.  A small  perfume  flask  of  greenish  glass. 

No.  29.  A small  perfume  bottle,  of  dark  translucent  glass. 

No.  30.  An  amphora  with  a foot,  and  handles  of  blue  glass. 

No.  31.  A globular  bottle  of  dark  glass. 

No.  32.  A small  bottle  with  a round  body,  and  interesting  coloration. 

No.  33.  Two  vases  with  wide  necks  and  bodies. 

No.  34.  A flat  bottle  of  clouded  olive  green  glass. 

No.  35.  A vase  of  light  green  glass,  probably  of  Jewish  make. 
Fourth  century  A.  D. 

No.  36.  A small  bottle,  ornamented  with  threads  of  glass  applied 
plastically.  This  class  of  vases  is  hard  to  date,  but  should 
probably  be  thought  of  as  in  the  period  between  the  first 
century  B.  C.,  and  the  first  century  A.  D. 


218 


MEDITERRANEAN  SECTION 

No.  37.  Two  vases  of  blue  mosaic  glass,  of  relatively  late  date.  One 
is  a small  flask,  the  other  a cup. 

No.  38.  Two  primitives.  These  two  vases  are  the  oldest  in  the 
collection  and  represent  an  early  stage  in  the  history  of 
glass  making.  One  is  a small  pitcher,  the  other  an  ala- 
bastron  or  perfume  flask.  They  were  made  on  a core 
before  the  invention  of  the  blowpipe.  Vases  of  this  class 
are  found  in  Egypt  in  deposits  of  the  XVII  and  XIX 
Dynasties  (beginning  about  B.  C.  1500)  and  continue  until 
the  fourth  century  B.  C.  These  specimens,  which  were 
obtained  in  Egypt,  probably  belong  in  the  fifth  century 
B.  C. 

No.  39.  A perfume  flask,  obtained  in  Egypt,  and  damaged  in  antiq- 
uity by  fire.  It  is  of  dark  green  glass. 

No.  40.  A longnecked  amphora  of  green  glass,  with  handles  of  a 
somewhat  darker  color. 

No.  41 . An  amphora  with  a pointed  foot,  and  of  a rare  and  beautiful 
shape.  It  was  bought  in  Athens,  and  is  probably  of  the 
second  or  first  centuries  B.  C.,  or  possibly  as  late  as  the 
first  century  A.  D. 

No.  42.  A small  perfume  flask,  with  a foot. 

No.  43.  A round  bottle,  of  green  glass,  with  a dark  incrustation. 

No.  44.  A perfume  bottle  with  a long  neck  and  flattened  body,  with 
a brilliant  silver  iridescence. 

No.  50.  Group  of  four  balsamaria,  popularly  known  as  tear  jars. 

As  these  vases  are  usually  found  in  tombs,  the  theory 
arose  that  they  were  used  by  mourners,  who  filled  them 
with  their  tears,  sealed  them,  and  put  them  in  the  tomb 
with  the  deceased.  The  fact  seems  to  be,  however,  that 
they  were  used  for  rare  and  valuable  perfumes.  They 
belong  in  the  Roman  period. 

No.  46.  Two  amphorae  of  light  glass,  one  with  a pointed  foot. 

No.  47.  A tall  perfume  flask  of  green  glass. 

No.  48.  Two  small  pitchers,  ornamented  with  threads  of  glass  of 
another  color,  applied  plastically.  They  belong  in  the 
first  or  second  centuries  of  our  era. 

No.  49.  Two  small  vases,  one  an  amphora,  the  other  a pitcher,  with 
handles  of  glass  of  another  color. 

No.  50.  Two  pitchers  of  light  glass  with  white  coloration. 


219 


THE  UNIVERSITY  MUSEUM 


No.  51.  A small  perfume  flask,  on  a foot,  with  handles  of  threads 
of  glass. 

No.  52.  Two  small  bottles,  with  fine  coloration. 

No.  53.  A long,  twisted  rod  of  glass,  used  for  stirring,  with  a loop 
handle. 

No.  54.  Three  toy  vases.  The  purpose  of  these  little  glass  jars 
is  not  clear,  nor  can  their  exact  date  be  well  determined, 
although  they  are  probably  late.  They  may  have  been 
toys  for  children. 

No.  55.  A collection  of  four  small  perfume  bottles. 

No.  56.  Two  glass  bowls,  one  with  fine  blue  iridescence. 

No.  57.  Fragment  of  a ball  of  solid  millefiori  glass. 

No.  58.  Three  fragments  of  glass  vases,  with  beautiful  iridescence. 

No.  59.  Two  fine  large  bowls  of  light  glass,  found  in  Egypt. 

No.  60.  A solid  glass  pendant,  with  beautiful  iridescence. 

No.  61.  A moulded  glass  plaque,  showing  a head  of  Medusa,  full 
front. 

No.  62.  A collection  of  bracelets  and  other  small  objects  of  glass. 

Some  of  these  are  of  early  date,  when  glass  was  still  rare 
and  costly. 

No.  63.  A small  tray  of  green  glass. 

No.  64.  A fine  basin  of  light  glass,  on  a foot. 

No.  65.  Two  necklaces  of  glass  beads. 

No.  66.  Three  small  bowls,  or  cups,  of  light  colored  glass,  with  fairly 
good  iridescence. 


Case  XI. 

The  contents  of  this  case  are  confined  to  the  best  examples  from 
the  above  collection,  chosen  for  the  beauty  of  their  iridescence. 
These  vases  for  the  most  part,  and  unless  otherwise  stated,  are  of  the 
usual  period  of  activity:  from  the  first  century  B.  C.,  to  the  first 
century  A.  D. 

No.  67.  A small  pitcher,  with  exquisite  blue  iridescence. 

No.  68.  A small  perfume  flask,  with  fine  blue  iridescence. 

No.  69.  A bowl  of  dark  glass,  with  brown  and  mauve  coloration. 

No.  70.  A bottle  of  light  glass,  with  a very  small  mouth,  and  good 
iridescence. 

No.  7 1 . A perfume  jar,  with  brilliant  iridescence. 

No.  72.  A bottle  of  dark  glass  with  fine  coloration. 


220 


M E I )IT K K K A N K A N S E( T ION 


No.  73.  A bottle  with  dark  coloration,  and  spots  of  brilliant 
iridescence. 

No.  74.  A pitcher  of  dark  glass,  with  flashes  of  purple  iridescence. 

No.  75.  A small  bottle  of  exquisite  shape.  Golden  iridescence. 

No.  76.  A bottle  of  dark  glass,  that  has  received  a beautiful  blue 
color. 

No.  77.  A small  boitle,  with  green  iridescence. 

No.  78.  A small  perfume  flask,  of  dark  glass,  with  very  bright  spots 
of  coloration. 

No.  79.  A vase  of  the  same  shape  as  No.  78,  with  spots  of  red 
iridescence. 

No.  80.  An  amphora  of  dark  glass  and  unusual  shape,  with  four 
handles. 

No.  81.  A drinking  cup  of  light  glass,  with  blue  iridescence. 

Nos.  82,  83,  and  84.  Three  pitchers  of  Jewish  glass.  These  three 
vases  are  late,  dating  in  the  fourth  century  A.  D.  They 
are  decorated  with  designs,  some  of  them  indicating  the 
Temple  door.  No.  82  is  perhaps  the  most  remarkable 
vase  in  the  whole  collection.  It  is  a hexagonal  pitcher  of 
dark  glass,  flecked  with  dots  of  iridescence  of  all  colors. 
This  form  of  coloration  is  most  unusual.  No.  83,  though 
smaller,  has  similar  coloration,  while  No.  84  has  brilliant 
bluish  green  iridescence. 

No.  85.  A small  glass  jar,  with  golden  iridescence. 

No.  86.  A pitcher,  dating  in  the  first  century  A.  D.  Vivid  green 
iridescence. 

No.  87.  A flask  of  the  same  period,  with  unusual  iridescence. 

No.  88.  A bottle  of  light  glass,  with  a stopper  of  solid  dark  glass. 

No.  89.  A jar,  with  remarkably  uniform  iridescence  of  a green  color 
all  over  the  vase. 

No.  90.  Vase  of  the  same  shape  as  No.  87,  with  more  delicate  colors. 

No.  91.  A small  flat  bottle,  with  excellent  green  iridescence. 

No.  92.  A bottle  with  a very  unusual  mauve  coloration. 

No.  93.  A bottle  of  the  same  shape  as  No.  76,  with  lovely  light  green 
coloration. 

No.  94.  A flask  of  the  same  shape  as  Nos.  87  and  90,  with  green 
iridescence. 

No.  95.  A small  bottle,  with  silvery  iridescence. 

No.  96.  Amphora  of  orange  glass,  of  unusual  shape. 

No.  97.  A small  toy  flask,  of  dark  glass,  with  fine  iridescence. 


221 


THE  UNIVERSITY  MUSEUM 


No.  98.  A bowl  of  green  glass  with  spiral  decoration. 

No.  99.  A small  perfume  flask  with  white  coloration. 

No.  100.  A small  jar  writh  golden  iridescence. 

No.  101.  A balsamarium  with  flashes  of  red  and  blue  coloration. 

No.  102.  A small  flask,  with  iridescence  of  green  and  silver. 

No.  103.  A pitcher  with  blue  and  silver  iridescence. 

No.  104.  Fragment  of  the  mouth  of  a large  balsamarium,  with  tints 
of  green,  gold  and  violet. 

No.  105.  A flask  with  solid  green  coloration. 

No.  106.  An  angular  bottle  with  a handle,  something  like  a modern 
case  bottle.  On  one  side  there  are  beautiful  opalescent 
colors. 

This  collection  has  been  described,  and  the  best  examples  pub- 
lished, by  E.  F.  R(ambo),  Museum  Journal,  X,  1919,  pp.  156-165, 
and  Figs.  60-70.  Also  A.  J.  A.,  XXIV,  1920,  p.  104. 

Case  XIII. 

The  Roman  glass  in  this  and  the  following  six  cases  comprises 
the  collection  in  the  possession  of  the  Museum  before  the  acquisition 
of  the  Morris  Collection ; most  of  these  pieces  come  from  the  Holy 
Land.  The  best  examples  were  published,  by  E.  H.  H(all),  Museum 
Journal.  IV,  19B,  pp.  119-141,  Figs.  94-118,  120-124.  See  also 
A.  J.  A..  XVIII,  1914,  p.  416. 

No.  1.  An  amphora,  with  a long  neck,  and  two  curious  handles  on 
the  shoulders. 

No.  2.  Two  small  vases  with  grooved  decoration,  of  the  first 
century  A.  D. 

No.  3.  A fairly  tall  pointed  amphora,  like  No.  41  in  the  Morris 
Collection,  in  excellent  preservation. 

No.  4.  A bowl  with  a row  of  knobs  around  the  middle. 

No.  5.  A vase  of  translucent  glass,  shaped  like  No.  3 in  the  Morris 
Collection,  but  smaller. 

No.  6.  A group  of  three  ewers,  of  graceful  shape. 

No.  7.  A group  of  six  glass  bottles,  ornamented  with  threads  of  glass, 
imitating  actual  threads  of  sealing. 

No.  8.  A group  of  seven  moulded  vases,  the  bodies  of  which  are  in 
the  form  of  female  heads.  Two  of  them  have  handles 


MEDITERRANEAN  SECTION 


No. 


No. 


No. 

No. 


No. 

No. 

No. 


No. 


No. 


No. 


No. 


No. 

No. 


made  of  a glass  of  a different  color,  all  the  rest  save  one 
have  no  handles. 

9.  A large  collection  of  fifteen  vases  of  various  shapes  and  sizes, 

of  a beautiful  cobalt  blue.  Some  are  of  blown  glass,  some 
made  in  a mould.  These  are  the  most  beautiful  specimens 
in  the  case.  They  probably  date  in  the  first  century  B.  C. 

10.  A group  of  eight  Sidonian  bottles.  Antiquity  credited 

the  Phoenicians,  the  great  traders  of  the  ancient  world, 
with  the  invention  of  glass;  but  the  truth  is  that  the 
Egyptians  knew  about  it  before  the  Phoenicians  appear  in 
history.  These  little  bottles,  however,  have  been  found 
in  large  numbers  in  the  neighborhood  of  the  great  Phoe- 
nician city  of  Sidon,  hence  their  name.  They  are  made  in 
two  moulds,  half  of  a vase  in  each  mould,  and  joined  while 
the  glass  was  still  soft.  They  are  found  in  deposits  of  the 
Hellenistic  period  of  Greek  civilization,  dating  from  the 
end  of  the  fourth  to  the  first  centuries  B.  C.  They  are 
frequently,  as  with  some  of  these  specimens,  made  of 
opaque  glass. 

1 1.  Two  Jewish  pitchers,  of  the  fourth  century  A.  D. 

12.  Two  small  phials,  of  the  first  century  A.  D.,  with  beautiful 

green  iridescence,  of  a shape  like  No.  68  in  the  Morris 
Collection. 

13.  Two  largemouthed  jars,  without  handles,  of  red  glass,  with 

fine  streaky  iridescence. 

14.  A small  pointed  amphora,  with  dark  coloration  and  a little 

green  iridescence. 

15.  A flat  amphora,  of  winecolored  glass,  with  handles  of  white. 

This  vase  has  taken  on  a very  beautiful  coloration,  and 
dates  in  all  probability  in  the  second  century  of  our  era. 

16.  A group  of  small  glass  imitations  of  scarabs  and  intaglios, 

of  the  first  century  B.  C. 

17.  A large  bowl,  with  blue  iridescence,  which  is  one  of  the  finest 

specimens  in  the  case. 

18.  A vase  of  the  shape  called  an  aryballos,  with  a small  mouth 

and  two  handles.  Green  iridescence. 

19.  A vase  of  the  shape  of  No.  16  in  the  Morris  Collection,  but 

smaller. 

20.  A bottle,  with  a long  neck  and  a moulded  body. 

21.  A small,  round  bowl,  with  fair  iridescence. 


223 


THE  UNIVERSITY  MUSEUM 


No.  22.  A cylindrical  pitcher,  probably  made  in  a mould,  in  shape 
something  like  No.  6 in  the  Morris  Collection. 

No.  23.  A globular  little  amphora,  with  three  handles,  and  iri- 
descence of  a delicate  lilac  color. 

No.  24.  A drinking  cup,  of  a form  very  common  in  Roman  glass. 

No.  25.  A small  glass  vase  of  egg  cup  shape,  on  a slender  stem,  with 
very  delicate  and  beautiful  iridescence. 

No.  26.  Two  toy  vases. 

No.  27.  A small  perfume  flask,  on  a base,  shaped  like  those  under  the 
numbers  51,  78,  and  79  in  the  Morris  Collection. 

No.  28.  A small  bottle  with  pinkish  iridescence. 

No.  29.  A drinking  cup  of  yellow  glass. 

No.  30.  Two  slender  pitchers  on  bases,  with  delicate  iridescence. 

No.  31.  A globular  amphora  of  red  glass,  with  handles  of  a different 
color.  This  specimen  probably  belongs  in  the  first  century 
of  our  era. 

No.  32.  A small  pitcher  of  red  glass,  made  in  a mould,  of  the  same 
period. 

No.  33.  A small  moulded  amphora  of  pinkish  glass,  with  a ribbed 
body.  Lilac  iridescence. 

No.  34.  A small  flask  of  yellow  glass,  turned  to  a deep  golden  color. 

No.  35.  Two  bowls  of  yellow  glass,  ornamented  with  threads  of 
glass  of  the  same  color,  applied  plastically. 

No.  36.  A fine  amphora  of  red  glass,  with  white  handles,  and  threads 
of  glass  around  the  mouth. 

No.  37.  A small  pitcher  of  dark  glass,  with  beautiful  iridescence, 
probably  made  in  the  first  century  of  our  era. 

No.  38.  A slender  pitcher  of  yellow  glass. 

No.  39.  Two  bowls  of  red  glass. 

No.  40.  Two  pitchers,  one  of  Jewish  glass,  of  the  fourth  century 
A.  D.,  the  other  probably  of  the  same  period,  and  perhaps 
also  of  Jewish  manufacture. 

No.  41.  Two  moulded  vases  of  dark  glass. 

No.  42.  A flat  amphora  of  yellow  glass,  with  a long  neck. 

No.  43.  A small  bottle  of  red  glass,  with  threads  of  glass  at  the  sides, 
ending  in  loop  handles,  at  the  junction  of  the  neck  and 
body. 

No.  44.  A ribbed  bowl  of  yellow  glass,  badly  broken. 

No.  45.  A small,  round  bottle,  with  beautiful  silvery  iridescence. 


224 


MEDITERRANEAN  SECTION 


No.  46.  A small  cup,  or  bowl,  with  horizontal  stripes  of  green  glass, 
and  a lug  handle. 

No.  47.  An  amphora  with  handles  like  No.  1,  and  a globular  body. 

No.  48.  A fine  large  bowl,  on  a foot,  decorated  with  threads  of  glass 
of  a different  color  in  relief.  With  it  is  a smaller  bowl  of 
the  same  shape  and  technique. 

No.  49.  Two  small  bottles  decorated  with  threads  of  glass  in  relief 
applied  plastically,  and  in  shape  like  No.  36  in  the  Morris 
Collection. 

No.  50.  Two  funnelshaped  cups,  one  decorated  with  dark  spots. 

No.  51.  Two  bottles  of  yellow  glass,  shaped  alike,  and  ornamented 
with  a winding  decoration  of  glass  threads.  One  is 
somewhat  larger  than  the  other. 

No.  52.  Two  amphorae  of  light  green  glass,  ornamented  with  threads 
of  dark  green  glass  in  relief. 

No.  53.  Two  tall  bottles  with  very  small  mouths,  with  threads  of 
glass  around  the  necks  in  imitation  of  sealing. 

No.  54.  A small  round  amphora  of  white  glass,  with  handles  and 
relief  decoration  of  dark  green  glass. 

No.  55.  A jar,  with  heavy  threads  of  glass  of  the  same  colour  forming 
a handlelike  decoration. 

No.  56.  A bottle  of  the  same  shape  as  No.  43,  but  larger,  and  of 
white  glass. 

No.  57.  A cup,  decorated  at  the  top  with  threads  of  glass  in 
relief. 

No.  58.  A balsamarium,  single,  with  a ring  at  the  top  for  a handle, 
of  late  date. 

No.  59.  A large  glass  jar,  ornamented  with  threads  of  glass  in  relief. 

The  threads  and  handles  are  of  a darker  glass  than  the 
vase  proper.  This  vase,  which  is  one  of  the  finest  in  the 
case,  is  probably  of  the  first  or  second  centuries  A.  D. 
With  it  is  another  vase  of  the  same  shape  and  technique, 
but  smaller,  and  still  translucent  as  it  was  the  day  it  was 
made. 

No.  60.  A bottle,  with  a design  in  threads  of  red  glass,  of  late  date. 

No.  61.  A small  pitcher,  of  the  same  technique  as  Nos.  57-59. 

No.  62.  A small  bottle  of  white  glass,  with  threads  around  the 
neck. 

No.  63.  A large  bottle  of  light  green  glass,  with  a relief  design  of 
threads  of  dark  green  glass. 


225 


THE  UNIVERSITY  MUSEUM 


No.  64.  Two  small  pitchers,  on  feet.  In  both,  glass  of  two  colors 
was  originally  used;  but  one  is  entirely  covered  w’ith  white 
coloration  at  present. 

No.  65.  Group  of  two  pitchers  of  light  glass. 

Case  XII. 

The  specimens  in  this  case  are  the  most  beautiful  in  the  Museum’s 

collection,  and  have  been  selected  not  only  for  the  brilliance,  but  also 

for  the  unusual  color  of  the  iridescence  in  several  of  the  specimens. 

All  should  be  examined  with  especial  care.  Most  of  these  vases  were 

made  in  the  first  century  A.  D. 

No.  66.  Small  bottle,  with  beautiful  green  and  red  iridescence. 

No.  67.  A large  bottle  like  the  two  under  the  number  4 in  the  Morris 
Collection,  with  fine  iridescence. 

No.  68.  A drinking  cup,  on  a foot,  of  a common  shape,  and  good 
coloration. 

No.  69.  A small  bottle,  with  unusual  streaky  coloration. 

No.  70.  Vase,  shaped  like  No.  105  in  the  Morris  collection,  with 
beautiful  green  iridescence  with  lights  of  blue  and  red. 

No.  71.  An  amphora  with  a long  neck,  and  handles  on  the  shoulders, 
with  fine  streaky  blue  and  green  iridescence  with  touches 
of  red. 

No.  72.  A small  bottle,  covered  with  a solid  coat  of  brown,  but  with 
spots  of  green  and  blue  iridescence. 

No.  73.  A small  bottle  with  a ribbed  body,  and  also  covered  with 
brown,  but  with  pink  and  green  tints  of  coloration. 

No.  74.  A cup  on  a stem,  with  fine  silvery  iridescence. 

No.  75.  A large  goblet,  with  green  and  red  coloration.  This  is  one 
of  the  finest  pieces  in  the  collection. 

No.  76.  A small  pitcher  of  moulded  glass,  with  a kind  of  honeycomb 
decoration.  Faint  but  beautiful  iridescence. 

No.  77.  A moulded  flask  of  the  same  period  (first  century  A.  D.), 
with  a globular  body,  long  neck,  and  good  coloration. 

No.  78.  A hexagonal  moulded  bottle,  of  the  same  period.  This  fine 
specimen  has  remarkable  mauve  and  violet  coloring,  as 
well  as  the  more  usual  green. 

No.  79.  A globular  bottle,  with  a long  neck,  and  olive  green  and  lilac 
coloration. 

No.  80.  A small  round  bottle,  with  a ribbed  body,  covered  with  a 


226 


MEDITERRANEAN  SECTION 


No.  81. 

No.  82. 

No.  83. 

No.  84. 

No.  85. 

No.  86. 

No.  87. 

No.  88. 
No.  89. 
No.  90. 


No.  91. 

No.  92. 
No.  93. 
No.  94. 
No.  95. 


heavy  incrustation  of  black,  and  with  fine  golden  iridescence 
underneath . 

A bottle  of  a little  larger  size,  and  similar  shape,  with  the 
same  incrustation,  and,  underneath,  coppery  iridescence. 

An  amphora,  of  a pure,  classical  shape,  with  delicate  and 
beautiful  coloration. 

A bottle  of  small  size  and  shaped  something  like  No.  71  in 
the  Morris  Collection,  with  good  tints  of  color. 

A small  bottle  with  a long  neck  and  round  body.  Green 
iridescence. 

A medium  sized  bottle  of  dark  glass,  made  in  a mould.  This 
is  one  of  the  finest  specimens  in  the  collection. 

A tall  bottle  of  an  unusual,  but  very  graceful,  shape,  with 
delicate  tints  of  iridescence. 

A flask  with  a long,  thin  neck.  Fine  iridescence  of  a golden 
color. 

A small  bottle  with  fine  green  iridescence. 

A bottle  of  the  same  shape,  with  coppery  iridescence. 

A dish  of  mosaic  glass.  Unlike  the  majority  of  the  speci- 
mens here  exhibited,  it  is  not  from  the  Holy  Land.  It  was 
found  at  Chiusi  in  Etruria,  and  was  acquired  by  the 
Museum  in  1897.  It  dates  in  the  Roman  period.  Its 
technique  is  very  remarkable,  being  made  on  the  wheel, 
like  a vase  of  clay.  The  scheme  of  decoration  shows  great 
technical  knowledge. 

See  E.  H.  H(all),  loc.  cit.,  pp.  137-139,  Fig.  124. 

A small  moulded  bottle,  akin  to  the  Sidonian  bottles,  of 
dark  glass,  which  has  taken  on  a beautiful  violet  colora- 
tion. This  little  bottle  was  probably  made  in  the  first 
century  B.  C. 

A very  small  bowl  of  light  green  glass,  with  delicate  iri- 
descence. 

A small,  flat  amphora,  with  delicate  mauve  tints.  Made,  in 
all  probability,  in  the  first  century  of  our  era. 

A bowl,  shaped  like  No.  81,  but  larger,  covered  with  brown 
incrustation,  underneath  which  is  a streaky  iridescence. 

A curious  bottle,  with  spines  projecting  from  it,  and  covered 
with  golden  iridescence.  It  was  probably  made  in  the 
first  century  of  our  era,  and  looks  like  a glass  imitation 
of  a chestnut  burr. 


227 


THE  UNIVERSITY  MUSEUM 


No.  96.  A bottle  made  of  threads  of  glass,  of  various  colors  worked 
together.  Same  period. 

No.  97.  A globular  aryballos,  or  perfume  flask,  with  two  handles. 
Fine  green  iridescence. 

No.  98.  A bowl  with  a ribbed  body,  incrusted  with  black,  and  with 
iridescence  of  pink,  green,  and  gold. 


Case  IX. 

This  case  is  devoted  to  the  exhibition  of  fragments  of  different 
kinds  of  opaque  glass,  including  millefiori,  mosaic,  and  onyx  glass, 
and  glass  scarabs  and  cameos.  The  objects  date  in  the  first  and 
second  centuries  A.  D. 

No.  99.  Group  of  fragments  of  bowls  of  opaque  glass  of  plain  colors. 
No.  100.  Fragments  of  millefiori  glass  bowls.  This  is  the  name 
given  by  the  Venetians  to  this  kind  of  glass,  which  they 
prized  highly.  These  bowls  were  manufactured  by  the 
combination  of  threads  of  glass  of  various  colors  in  such 
ways  that  by  cutting  cross  sections  through  them  a 
variety  of  patterns  might  be  produced.  The  combination 
was  effected  by  heating. 

No.  101.  Fragments  of  onyx  glass.  There  are  three  or  four 
purple  millefiori  pieces  included.  These  bowls  were 
made  in  imitation  of  stone  vases  of  different  veined 
marbles,  of  agate,  onyx,  and  other  valuable  materials. 

No.  102.  Fragments  of  filigree  glass  bowls:  white  and  yellow  threads, 
edged  with  blue. 

No.  103.  Fragments  of  bowls  of  mosaic  glass,  with  inlay  of  ribbons 
of  glass  of  various  colors.  In  some  of  these  fragments, 
we  see  a combination  of  the  filigree  and  mosaic  technique. 
No.  104.  Pieces  of  millefiori  glass  bowls.  Some  of  these  are,  like 
the  onyx  glass  vases,  in  imitation  of  rare  marbles,  like 
porphyry,  or  serpentine. 

No.  105.  Bits  of  glass  from  mosaics,  often  showing  pieces  still  fitting 
together.  The  workmanship  of  these  fragments  is  very 
fine,  and  shows  great  technical  skill. 

No.  106.  Scarabs  and  buttonlike  objects  of  glass. 

No.  107.  Fragments  of  glass  revetments  or  veneers,  in  imitation  of 
marble.  These  were  much  used  in  interiors  of  houses  in 
Roman  times. 


228 


MEDITERRANEAN  SECTION 


No.  108.  A few  glass  cameos,  dating  from  the  first  century  B.  C.  to 
the  first  century  A.  D.  Two  of  these  are  especially  fine. 


Case  XV. 

The  contents  of  this  case  consist  for  the  most  part  of  vases  such 
as  have  already  been  seen  in  Cases  XII  and  XIII.  Some  of  these 
vases  are  of  great  beauty  and  importance.  The  collection  of  glass 
bracelets,  and  other  small  objects,  exhibited  on  the  bottom  shelf 
of  this  case,  should  be  particularly  noticed. 


No.  109. 
No.  110. 


No. 

1 11. 

No. 

112. 

No. 

1 13. 

No. 

1 14. 

No. 

1 15. 

No. 

1 16. 

No. 

117. 

No. 

118. 

No. 

119. 

No. 

120. 

No. 

121. 

No. 

122. 

No. 

123. 

No. 

124. 

Two  amphorae  of  a flat  type,  with  circular  bodies,  and 
graceful  handles.  Each  has  delicate  and  beautiful 
iridescence. 

Two  drinking  cups,  in  shape  somewhat  like  a modern 
tumbler.  One  of  them  has  good  tints  of  green,  blue,  and 
lilac.  No.  68  is  of  the  same  shape. 

Two  pitchers  with  cylindrical  bodies,  shaped  like  No.  22, 
with  delicate  tints  of  iridescence. 

A small  bowl,  made  in  a mould,  and  decorated  with  a 
stamped  design  of  circles. 

Two  large  bowls  on  feet,  both  with  good  coloration,  and 
one  almost  translucent. 

A large  bottle  of  a late  period,  perhaps  the  second  century 
A.  D. 

A small  cup  with  a relief  design  of  rays  at  the  foot. 

Two  small  bottles  with  wide  mouths.  Good  coloration. 

Two  small  narrow  bottles,  or  vials,  one  with  exquisite 
iridescence.  The  shape  is  that  of  No.  27. 

Two  small  vases  with  globular  bodies,  narrow  necks,  and 
flaring  mouths. 

Two  very  small  moulded  bottles,  one  square,  one  hex- 
agonal, each  with  one  handle. 

Two  small  perfume  flasks. 

Two  small  bowls,  in  shape  somewhat  like  those  under  the 
number  2. 

A small  drinking  cup,  on  a foot,  of  light  glass. 

Two  small  amphorae,  one  of  light  glass,  one  of  dark;  the 
former  has  fine  iridescence. 

A fine  bottle,  of  a shape  somewhat  like  the  Greek  vase 
called  an  aryballos,  being  squat  and  shortnecked.  It 


229 


THE  UNIVERSITY  MUSEUM 


No.  125. 
No.  126. 

No.  127. 
No.  128. 

No.  129. 
No.  130. 
No.  131. 
No.  132. 


No.  133. 
No.  134. 


No.  135. 
No.  136. 

No.  137. 
No.  138. 
No.  139. 

No.  140. 
No.  141. 


has  a beautiful  silvery  coloration.  It  probably  dates  in 
the  first  century  A.  D. 

A small  bottle  of  dark  glass,  in  shape  like  No.  83. 

Two  pitchers  of  light  glass,  with  dark  glass  handles,  and 
rings  around  the  neck  of  the  same  color. 

A vase  of  the  same  shape  and  technique  as  No.  55. 

A balsamarium,  erroneously  called  a tear  jar,  but  single, 
whereas  most  of  these  vases  are  double. 

Two  small  groups  of  toy  vases,  some  with  fine  coloration. 

Two  small  bottles  of  beautiful  shape  and  fine  iridescence. 

A small,  flat  moulded  bottle  of  dark  blue  glass. 

A bottle  of  white  glass,  as  transparent  as  the  day  it  was 
made  in  the  first  or  second  centuries  A.  D.,  shaped  like 
Nos.  83  and  125. 

A small  vase  of  light  green  glass,  on  a stem. 

Two  vases  moulded  in  the  form  of  dates.  For  a similar 
specimen,  see  No.  1 1 in  the  Morris  Collection.  These 
bottles  were  used  for  perfumes,  and  are  not  uncommon. 
They  were  evidently  meant,  from  their  small  size,  to 
hold  some  rare  scent  that  was  too  expensive  to  be  sold  in 
large  quantities.  It  may  be  that  this  perfume  was  made 
in  some  way  from  dates,  and  that  would  account  for  the 
shape  of  these  bottles.  They  seem  to  belong  in  the  first 
century  A.  D. 

A moulded  green  glass  bowl,  practically  translucent. 
First  century  B.  C. 

A large  double  cone  of  solid  green  glass,  possibly  used  as  a 
stopper  for  a bottle.  For  a similar  double  cone  used  in 
this  manner,  see  No.  88  in  the  Morris  Collection. 

A graceful  bowl  with  a high  handle,  of  green  translucent 
glass. 

A balsamarium,  of  green  glass,  double,  and  on  a flat  foot. 
In  one  of  the  halves  is  a bronze  rod. 

Another  balsamarium,  with  a high  handle.  Originally  of 
light  green  glass,  with  the  handle  of  dark  green,  the  whole 
has  taken  on  a grey  blue  coloration. 

A handsome  amphora  of  thin  white  glass,  with  handles  of 
dark  blue  glass. 

This  number  applies  to  an  assortment  of  small  glass  objects, 
such  as  bracelets,  beads,  buttonlike  objects,  toy  vases, 


230 


M EDITE R RAN EAN  SECTION 


small  vases  of  various  shapes,  and  several  balsamaria. 
Many  of  these  things  are  of  great  beauty,  especially  the 
bracelets,  some  of  which  have  brilliant  coloration. 


Case  XVI. 

The  vases  in  this  case  bring  to  its  end  the  collection  of  Roman 
Glass.  These  vases  are  many  of  them  of  great  beauty  and  interest. 
The  collection  of  primitives  (Nos.  142,  143,  144,  and  145)  should 
be  especially  noticed.  These  are  the  earliest  specimens  in  the  col- 
lection. Vases  of  this  sort  first  appear  in  Egypt  in  deposits  of  the 
XVIII  and  XIX  Dynasties  (ca.  B.  C.  1500)  and  continue  in  use  until 
the  invention  of  the  blowing  tube  in  Hellenistic  times.  The  vases 
are  modeled  over  a core;  the  decoration  was  obtained  by  laying 
threads  of  variously  colored  glass  over  the  surface  of  a vase  when  it 
was  still  hot.  Two  other  primitives  are  brought  together  under  the 
number  38  in  the  Morris  Collection. 


No.  142. 
No.  143. 

No.  144. 
No.  145. 


No.  146. 

No.  147. 
No.  148. 

No.  149. 

No.  150. 


Two  primitive  amphorae,  one  with  herring  bone  decoration 
on  dark  green  glass,  the  other  with  white  designs  on  black. 

Twro  small  pitchers,  primitives,  of  dark  blue  glass,  with 
decorations  of  yellow  and  light  blue  threads.  The  larger 
of  the  two  is  the  earlier. 

Two  primitive  alabastra,  one  with  a handle,  and  one  with- 
out, decorated  with  herring  bone  patterns.  These  are 
exceptionally  fine  specimens. 

A small  primitive  amphora,  broken,  of  dark  blue  glass, 
with  decorations  of  light  blue  and  yellow.  This  is  the 
earliest  specimen  in  the  group  of  primitives,  and  may 
date  in  the  seventh  or  the  sixth  century  B.  C.,  while 
the  others  are  from  one  to  two  centuries  later. 

A group  of  two  vases,  with  their  bodies  moulded  in  the 
form  of  a cluster  of  grapes,  a very  common  form  in  the 
first  century  A.  D. 

A drinking  cup,  with  the  sides  pressed  in. 

A square  case  bottle,  with  a handle,  of  the  shape  of  No.  106 
in  the  Morris  Collection,  and  made  in  a mould. 

A pitcher  of  light  glass,  with  the  lip  slightly  broken. 
Delicate  iridescence. 

A small  bottle  with  ribbed  sides,  light  green  coloration. 


231 


THE  UNIVERSITY  MUSEUM 


No.  151.  A bottle  with  a wide,  flattened  body,  and  a long  straight 
neck.  Light  glass  with  dark  coloration. 

No.  152.  A pitcher  of  yellow  glass,  with  a pointed  foot,  and  a handle 
of  dark  green  glass.  On  the  lip  are  beautiful  tints  of 
iridescence. 

No.  153.  A small  amphora  with  white  coloration. 

No.  154.  Two  bottles  with  exquisite  coloration,  shaped  like  Nos.  83 
and  132. 

No.  155.  A bottle  of  dark  glass,  shaped  like  those  under  the  number 
117. 

No.  156.  A little  pitcher  with  beautiful  iridescence,  and  to  be  dated 
in  the  first  century  A.  D. 

No.  157.  A small  cup  with  good  iridescence,  of  the  same  period. 

No.  158.  Two  small  bowls,  one  with  silvery  and  one  with  coppery 
iridescence. 

No.  159.  A small  bottle,  shaped  something  like  those  under  the 
number  2,  but  more  graceful. 

No.  160.  A small  bottle  with  a round  body,  and  a long,  straight  neck. 
Good  coloration. 

No.  161.  A pitcher  of  very  thin  light  yellow  glass,  with  a handle  of 
dark  green,  and  a line  of  the  same  color  around  the  lip. 
There  is  also  a base  ring  of  the  same  color.  This  vase  is 
translucent,  and  has  no  iridescence,  but  is  a noteworthy 
specimen  of  the  technique  of  using  glass  of  two  colors 
in  one  vase. 

No.  162.  A bottle,  in  shape  like  those  under  the  number  130. 

No.  163.  An  amphora,  in  shape  something  like  No.  1,  but  smaller. 

It  is  covered  with  a thin,  creamcolored  incrustation, 
underneath  which  is  a delicate,  light  green  iridescence. 

No.  164.  A pitcher,  of  the  same  technique  as  No.  161,  the  colors 
being  white  and  blue. 

No.  165.  A fine,  large  goblet  of  light  glass.  The  action  of  the  soil 
has  given  this  vase  a creamy  coat,  through  which  appear 
lights  of  iridescence. 

No.  166.  A balsamarium  of  dark  glass,  with  a high  handle. 

No.  167.  A fairly  large  bottle,  with  flaring  mouth,  and  on  the  body 
raised  threads  going  vertically  at  wide  intervals  from  the 
base  to  the  neck.  This  piece  probably  dates  in  the 
second  century  A.  I). 


232 


MEDITERRANEAN  SECTION 


No.  168.  A balsamarium,  with  a high  handle,  of  a very  good  shape, 
and  a soft,  rich  iridescence. 

No.  169.  A bowl  of  translucent  green  glass,  with  a slight  clouding  of 
white  incrustation. 

No.  170.  A fine  pitcher,  on  a foot,  with  a globular  body,  and  a ring 
around  the  neck.  Mostly  covered  with  a creamcolored 
incrustation,  there  are  fine  tints  of  green  and  silver 
iridescence. 

No.  171.  An  amphora  of  yellow  glass,  with  handles  of  blue,  and 
threads  around  the  neck  of  the  same  color. 

No.  172.  A pitcher,  of  a slender  and  graceful  shape.  Made  of 
yellowish  green  glass,  with  a handle  of  copper  blue,  and  a 
line  below  the  lip  of  the  same  color. 

No.  173.  A balsamarium,  of  translucent  white  glass,  with  a handle 
of  dark  glass.  This  is  a very  important  specimen,  on 
account  of  the  very  elaborate  compound  handle,  very 
different  from  those  that  have  already  been  treated. 

No.  174.  Two  bottles,  in  shape  and  design  like  the  group  numbered  7. 

No.  175.  Two  water  bottles,  of  good  size,  and  extraordinarily  light 
in  weight  for  their  size.  They  seem  to  belong  in  the 
second  century  A.  D. 

No.  176.  A large  flat  bowl.  This  beautiful  vase  has  exquisite  tints 
of  iridescence  when  seen  at  the  proper  light  and  angle. 

No.  177.  A balsamarium,  of  green  translucent  glass,  with  a very 
elaborate  double  handle  of  the  same  color.  This  handle 
is  like  that  of  No.  173,  but  is  even  more  elaborate. 

No.  178.  An  amphora,  with  handles  and  base  ring  of  dark  glass,  the 
vase  itself  being  of  yellow  glass.  The  neck,  and  par- 
ticularly the  lip,  have  taken  on  a most  beautiful  series  of 
tints  of  iridescence,  of  purple  and  green. 


233 


